Concert of sacred music
See also: Concert of sacred music
The Concert of sacred music is the name of an organization of Concert S which existed with Paris of 1725 with 1791. If the Concert of sacred music were outstanding in the tradition of the musical world , the expression of concert of sacred music is older.
Organizers in the Concert of sacred music
Before the creation in the Concert of sacred music, it was difficult to organize public concerts with Paris because of the privilege which had been granted to the royal Académie Music (name given then to the Opera). The Concert of sacred music was founded by Anne Danican Philidor (1681 - 1728), hautboïste with the royal Vault, which negotiated for this purpose with the royal Academy of Music. The concerts were to take place only the days when the Opera did not play because of the catholic festivals , which corresponded to about thirty days per annum. Moreover, it was to pay a strong allowance with the royal Academy of Music. The Concert of sacred music was inaugurated the March 17th 1725.
Philidor was associated with Michel Delannoy in the organization in the concerts. Starting from 1728, the privilege in the Concert of sacred music was granted to Pierre Simart and Jean-Joseph Mouret. In 1731, they make a new agreement with the royal Academy of Music. However, the Concert of sacred music has then many problems, in particular financial.
In front of these difficulties, the Concert of sacred music is taken again directly, the December 25th 1734, by the royal Academy of Music. There will remain managed by this institution until in 1741, and even, according to the most probable assumption, until in 1748.
In 1748, the Concert of sacred music is found again conceded, this time at Joseph Nicolas Pancrace Royer, associated with Gabriel Capperan. In 1761, the privilege of Royer and Capperan is revoked, with the profit of a new association gathering Antoine Dauvergne, Capperan and Joliveau.
The Concert of sacred music is entrusted in 1771 to the town of Paris, which concedes it in its turn with Dauvergne and Pierre Montan-Berton. However, as of 1773, it is transferred to Alphonse Leduc and François-Joseph Gossec. Lastly, in 1777, it is the singer Joseph Legros who took again the Concert of sacred music.
The Revolution, with the end of the privilege, more de facto that of swears , because of the wrong to the Concert of sacred music. The last concert undoubtedly took place the March 11th 1790, but no document mentions the official end in the Concert of sacred music.
However, the reputation in the Concert of sacred music was so strong that other organizers claimed to give concerts of sacred music . The expression then became more abstracted and generic. It started again thus the idea of concert of sacred music like forms particular Concert. This tradition was particularly vigorous in first half of the XIXe century.
Places in the Concert of sacred music
The concerts took place in the big room (Living room of Swiss) of the Palais of Tileries. In 1748, at the same time as the new concession, the concert hall is the subject of a new decoration.
As from April 1784, the Concert of sacred music moved in another room of the Palais of Tileries, called engine room. In 1788, the room was divided with the Italian Théâtre called “of Mister”.
Repertory and artists in the Concert of sacred music
Under the terms of the agreement made with the royal Academy of music, the Concert of sacred music could give neither French music nor especially operas of the repertory. The Concert of sacred music thus made hear on the one hand sacred music, justified moreover by the periods when it was held, on the other hand Italian music.
However, following a new agreement with the royal Academy of music, Philidor obtained as of 1727 to organize French concerts, also including/understanding French parts.
The Concert of sacred music was also the enclosure of predilection for the large motet, to which the French school of composition owes a good part of its reputation. The Concert of sacred music made it possible to make hear instrumental music, Symphonie S and Concerto S, with the participation of many virtuosos. Inter alia, Pierre Baillot was made known with the Concert of sacred music.
The Concert of sacred music also made it possible certain foreign type-setters to see their played works with Paris, in particular Antonio Rosetti or Joseph Haydn whose several Symphonie S and the Stabat MATER was a strong success.
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