Newsgroup: it.arti.musica.classica
Titolo: [REQ] Henry Desmartes

...il motivo della suddetta tag è che di questo (a quanto pare) 
misconosciuto compostore barocco non riesco a trovare alcuna notizia sulla 
rete :-(
È dire che attendevo in questi giorni l'arrivo di un primo ordine di 
"materiale fonografico", materiale nel quale figurava anche una collezione 
di mottetti eseguiti dai Les Arts Florissants (ridicola offerta Erato a 
,90  - lo ammetto, l'ho preso perché dei LAF mi prenderei pure un opéra 
comique di borborigmi).
Qualcuno mi suggerisce qualche testo per ovviare alla mia lacuna di 
informazioni su questa figura apparentemente legato al mondo versaill-iano 
(o -esco) e lulliano (a parte i necessariamente brevi cenni che potrebbero 
essere sui volumi dedicati al Barocco della Storia della Musica EDT - volumi 
che ancora non posseggo, essendo arrivato al Rinascimento)? Magari, anche 
qualche generico testo sulla musica "di Versailes" per antonomasia.
Grazie anticipatamente, o maestri, o guide per noialtri implumi neofiti. ;-)
-- 
Il faut mourir, pécheur. Il faut mourir 

 Il faut mourir, pécheur. Il faut mourir
anche qui c'è un errore
mizzeca la lingua di Molière me la mmassacrate, me la...:-)

 mizzeca la lingua di Moličre me la mmassacrate, me la...:-)
burp
 Roberto

 mizzeca la lingua di Molière me la mmassacrate, me la...:-)
Vabbë, Moliêré non era malmostoso. L'avrebbe presa a ridere :)
(E poi, diciamo la verità, il francese mi serve solo a chiedere le Gauloises 
ovvero le Gitanes al tabaccaio e a canticchiare canzonette di Brel per fare 
il figo al Bar :P)
-- 
Il faut mourir, pêcheur. Il faut mourir
[Chi il taglia e incolla fa da Wikipedia, o è un baro o è una spia] 

 [Chi il taglia e incolla fa da Wikipedia, o è un baro o è una spia]
dipende
chi doveva morire, un pescatore o un peccatore?
:-)))

 chi doveva morire, un pescatore o un peccatore?
Un pesco :-( L'inverno della vita arriva per tutti, insomma, anche per le 
piante :D
(ok, la pianto)

 digitaslo coretto
certco, combe no!
;-) 

 comique di borborigmi).
mi sa che ce l'ho quel disco, è questo?
http://www.hbdirect.com/album_detail.php?pid=381477
se me lo dicevi prima ... ;-)

 hacer de ella un folletín al estilo Dumas.
Bu biligiler baska bir lisan var mi? Tesekkür ederim. 

 se me lo dicevi prima ... ;-)
Eh sì. È lui. Ma l'ho preso a 5,90 (solo che ancora ha da arrivarmi). Dopo 
tutti gli allegri motteggiamenti di implumi niubbini, almeno la consolazione 
che c'è chi lo pagherà cinque volte tanto... o tre, su jpc. Tzé
(Uff... è che la febbre lulliana non mi aveva portato mica a considerare i 
suoi paggi, ecco)
Che sia roba buona, allora (il periodo è fecondo per le baroccate, e poi 
sono di manica larga).
No, ma una questione mi preme: per il glabro giovine calvo di conoscenze 
musicali ma voluttuoso d'apprendimento, esiste una letteratura non 
necessariamente per solutori più che abili che illustri la vita musicale a 
Versailles quando Versailles aveva ancora un senso?

 Grazie mille!
Desmarets [Desmarest, Desmaretz, Desmarais], Henry
(b Paris, Feb 1661; d Lunéville, 7 Sept 1741). French composer. Little is 
known of his early musical life other than that he was one of the boy pages 
of Louis XIV's musical establishment. There, directly under the influence of 
Pierre Robert and Henry Du Mont at an important period in the development of 
the grand motet, he probably also encountered Lully, who used the chapel 
pages to augment his performances. In 1680 Desmarets was referred to as an 
'ordinaire de la musique du Roy'. Titon du Tillet mentioned an idylle 
written by him for the birth of the Duke of Burgundy in 1682; this was a 
form to which he would regularly return.
Desmarets was unsuccessful in a contest in 1683 for a post as sous-maître at 
the royal chapel, but later got himself involved in writing motets for one 
of the successful competitors, Goupillet, to pass off as his own. The 
deception was not revealed until 1693 when Desmarets, complaining that he 
had not been paid sufficiently, exposed Goupillet. Desmarets gravitated 
increasingly towards secular forms of composition. It seems that he wanted 
to study in Italy but this plan was thwarted by Lully. Some measure of court 
favour can be inferred from the private performance of his first opera, 
Endymion, which took place over several days in the king's apartments, one 
or two acts at a time, in February 1686, and pleased the dauphine so much 
that she commanded another performance a few days later. Writing for the 
stage of the Académie was barred to Desmarets at the time since Lully 
enjoyed a complete monopoly; the gap left by his untimely death in March 
1687 began to be filled only tentatively by the next generation. Du Tralage 
cynically declared that Didon (1693), one of Desmarets' earliest surviving 
tragédies en musique, succeeded with the public because it was copied from 
Lully, that Circé (1694), less closely modelled on Lully, was less 
successful, and that Théagène (1695), in which the composer went his own 
way, was not successful at all. The ballet Les amours de Momus (1695) was 
eclipsed by another important precursor of the opéra-ballet, Collasse's 
Ballet des saisons (1695), partly because its designation as a 'ballet' was 
criticized. When Desmarets began work on another opera, Vénus et Adonis, in 
1695, he was apparently in dispute with Collasse over who should set Duché 
de Vancy's Iphigénie en Tauride; this was to be left unfinished by Desmarets 
and completed by André Campra in 1704.
Within months of the death of his first wife in August 1696, Desmarets had 
fallen in love with his pupil, the 18-year-old daughter of Jacques de 
Saint-Gobert, director of taxation for Senlis. The couple's lurid story, 
replete with all the ingredients of romantic fiction, is detailed by Antoine 
(1965). The upshot was a long legal battle, at the end of which in August 
1699 the couple fled the country, Desmarets being condemned to death in his 
absence. The composer began his exile in Brussels. His friend and fellow 
chapel page, the composer Jean-Baptiste Matho, obtained a letter of 
recommendation for him from the Duke of Burgundy to the new King of Spain, 
Philip V, and Desmarets moved to the Spanish court in 1701 and married Mlle 
de Saint-Gobert. Six years later, again with support from connections in 
France, he secured an appointment as surintendant de la musique at the court 
of Lorraine, which was closely modelled on the court of Louis XIV, his 
duties encompassing both religious and secular music.
Although he mounted a production of his own, Vénus et Adonis for the court 
at Lunéville in 1707, Desmarets' operatic activities focussed chiefly on 
revivals of operas by Lully at both Lunéville and Nancy (the libretto of a 
new prologue for a production of Armide in 1710 is extant). During this time 
he continued to write occasional pieces and motets. However favourable the 
musical climate in Lorraine, Desmarets hoped to be allowed to return to 
France. A petition to Louis XIV on his behalf by Matho in 1712 was rejected, 
but Desmarets was finally pardoned by the regent in 1720. When 
Michel-Richard de Lalande died in 1726, Desmarets sought his post of 
sous-maître, but was unsuccessful. His wife died in the following year and 
he ended his days in Lorraine.
Like his contemporaries, Desmarets worked within the framework that Lully 
had established, while developing certain aspects of it. He made effective 
use of orchestrally accompanied recitative, with the strings taking over 
from the continuo at telling moments. Invocations of oracles and spirits and 
their pronouncements are a feature of nearly all Desmarets' tragédies en 
musique; characteristically they are treated with a low-lying accompaniment, 
often with an obsessive rhythmic pattern and, in what for its time was a 
remote key, F minor. His soliloquies use effective changes of style and 
texture (e.g. from continuo to string accompaniment or from air to 
recitative and back) to illustrate the uncertainties and changes of mood 
being expressed. His enthusiasm for bass voices and low sonorities is found 
in a type of chorus in which a single melody line is directed to be sung by 
the basses only, an idea which was subsequently taken up by other composers.
Desmarets would have been an ideal replacement for Lalande at the royal 
chapel. Of all Lalande's contemporaries, he was best able to fill the large 
dimensions of the grand motet with convincing music. The influence of 
Lalande may be clearly seen in such a work as the De profundis. The four 
psalm settings written about 1707 for the chapel of the Duke of Lorraine are 
massive works, each averaging over 100 pages. They contain elaborate solo 
arias and 'operatic' trios for two sopranos and counter-tenor, alongside 
weighty homophonic choruses in the style of Lully, and choruses (or 
ensembles) of finely wrought polyphony closer in spirit to the later motets 
of Lalande.
Bibliography
AnthonyFB
E. Titon du Tillet: Le Parnasse françois, suppl. i (Paris, 1743/R)
A. Jacquot: La musique en Lorraine (Paris, 1882, 2/1882/R)
M. Brenet: 'Desmarets, un compositeur oublié du XVIIIe siècle', Le 
ménestrel, xlix (1882-3), 305-7, 313-15, 321-3, 329-31
M. Ténéo: 'Miettes historiques: correspondence théâtrale du XVIIe siècle', 
Mercure musical, i (1905), 577-83, 620-27; ii (1906), 21-8, 71-8
M. Antoine: Henry Desmarest (Paris, 1965)
J. de La Gorce: 'L'Académie royale de musique en 1704, d'après des documents 
inédits conservés dans les archives notariales', RdM, lxv (1979), 170-91
C. Wood: 'Orchestra and Spectacle in the tragédie en musique, 1673-1715: 
Oracle, sommeil and tempête', PRMA, cviii (1981-2), 25-46
R. Fajon: L'opéra à Paris du Roi-Soleil à Louis le Bien-aimé (Geneva, 1984)
Caroline Wood
Works
printed works published in Paris, unless otherwise stated
Stage
first performed in Paris, Académie Royale de Musique (the Opéra), unless 
otherwise stated
tm-tragédie en musique
      Idylle sur la naissance du duc de Bourgogne, ? 1682, lost
      Endymion (tm, prol, 5), Versailles, 16-23 Feb, 5 March 1686, lost
      La Diane de Fontainebleau (divertissement, Maurel), Fontainebleau, 2 
Nov 1686, F-Pa
      Didon (tm, prol, 5, L.-G.G. de Saintonge), 5 June or 11 Sept 1693, Pn, 
vs and reduced inst score (1693)
      Circé (tm, prol, 5, Saintonge), 11 Nov 1694 (1694)
      Théagène et Cariclée (tm, prol, 5, J.-F. Duché de Vancy), 12 April 
1695, reduced score, abridged (1695)
      Les amours de Momus (ballet, prol, 3, Duché de Vancy), 12-14 June 
1695, reduced score (1695)
      Vénus et Adonis (tm, prol, 5, J.-B. Rousseau), March, April or July 
1697, reduced score (1697)
      Les festes galantes (ballet, prol, 3, Duché de Vancy), 10 May 1698, 
reduced score (1698)
      Divertissement representé à Barcelone pour le mariage de leurs 
majestez catholiques en octobre 1701 (Saintonge), music lost, attrib. 
Desmarets
      Iphigénie en Tauride (tm, prol, 5, Duché de Vancy and A. Danchet, 
after Euripides), 6 May 1704, extracts (1704), reduced score (1711), 
completed by A. Campra
      Le temple d'Astrée (divertissement, 5 scenes, du Tremblay), Nancy, 9 
Nov 1709, only lib extant
      Diane et Endymion (tm, prol, 5, Saintonge), Nancy, Jan 1711, music 
lost, attrib. Desmarets
      Divertissement for the Elector of Bavaria, Namur, 1712, lost
      Divertissement for fête of the Duke of Lorraine (prol, 6 scenes, 
Cusson), Lunéville, 15 Nov 1717, only lib extant; rev. as Divertissement for 
marriage of the Prince of Lixheim, Nancy, 1721
      Renaud, ou La suite d'Armide (tm, prol, 5, S.-J. Pellegrin, after T. 
Tasso), 5 March 1722, reduced score (1722)
      Music in: Télémaque, ou Les fragmens des modernes (1704); Armide 
(revival 1710)
      Doubtful: Plutus, ou Le triomphe des richesses (ballet), Paris, 
Collège Louis-le-Grand, 5 Aug 1682, Pn (attrib. 'Desmatins'); Idylle sur la 
naissance de Monseigneur le Dauphin (Paris and Lyons, 1730)
Sacred
      Grands motets: Beati quorum, 1683, lost; Te Deum, 1st setting, c1678, 
Pc; Veni Creator, before 1704, GB-T; Cum invocarem, before 1704 (1714), T; 
Exaudiat te Dominus, before 1704, T; Domini est terra, before 1704, T; 
Quemadmodum desiderat, before 1704, T; Deus in adjutorium, before 1704, T; 
Confitebor tibi, before 1704, T; Dominus regnavit, before 1704, F-Pc, GB-T; 
Nisi Dominus, before 1704, T; Beati omnes, before 1704, T; De profundis, 
before 1704, T; Confitebor tibi, 1707, F-V; Usquequo Domine, 1st setting, 
1708, Pc, 2nd setting, after 1708, LYm; Te Deum, 2nd setting, after 1707, 
LYm; Domine ne in furore, after 1707, Pc; Lauda Jerusalem, after 1707, Pc
      Messe à deux choeurs, before 1704, GB-T
Other works
      Cants., music lost: Le lys heureux époux (Marchal), 1724; Clytie, 
1724; Le couronnement de la reine par la déesse Flore (Marchal), 1724; La 
toilette de Vénus (Henault), text in Oeuvres inédites de M. le président 
Henault (1806)
      Airs in Recueil d'airs sérieux et à boire (Feb 1702, March 1706, 
Aug-Nov 1706, April 1713, Jan 1721); Nouveau recueil de chansons (The Hague, 
1729, 1732); 19 op extracts in Nouvelles parodies bachiques (1700-02); Airs 
et brunettes à 2 et 3 déssus pour les flutes traversières (n.d.); Meslanges 
de musique latine, françoise et italienne (1726); Nouvelles poésies 
spirituelles et morales (1703-33, 1737, 1752); Second recueil des nouvelles 
poésies spirituelles (1731); Nouvelles poésies morales sur les plus beaux 
airs (1737)
      Inst: Recueil de dances . dancés à l'Opéra (1704); Marche de l'Orenne, 
1707, and Trio, F-V, Pc; [6] Sonates, fl, bc, ?1725-30 (n.d.), authenticity 
doubtful; Sonates, 2 fl/vn (Paris and Lyons, 1731), authenticity doubtful

 ha scritto nel messaggio 
news:496fb162$0$1121$4faf...@reader1.news.tin.it...
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turco?

 turco?
io? no (e la richiesta di info in altra lingua lo è approssimativamente,
visto che non trovavo l'ASCII per la «s» con cedilla e la «i» senza puntino)
grazie per le informazioni, con tanto di biografia, comunque!
-- 
Il faut mourir, pays cher. Il faut mourir :D

