| 词条 | Jean-Joseph de Mondonville |
| 释义 |
LifeMondonville was born in Narbonne in Occitania (South France) to an aristocratic family which had fallen on hard times. In 1733 he moved to Paris where he gained the patronage of the king's mistress Madame de Pompadour and won several musical posts, including violinist for the Concert Spirituel. His first opus was a volume of violin sonatas, published in 1733. He became a violinist of the Chapelle royale and chamber and performed in some 100 concerts; some of his grands motets were also performed that year receiving considerable acclaim. He was appointed sous-maître in 1740 and then, in 1744, intendant of the Royal Chapel. He produced operas and grands motets for the Opéra and Concert Spirituel respectively, and was associated with the Théatre des Petits-Cabinets, all the while maintaining his career as a violinist throughout the 1740s. In 1755, he became director of the Concert Spirituel on the death of Pancrace Royer. Mondonville died in Belleville near Paris at the age of sixty.[2] MusicSacred musicBetween 1734 and 1755 Mondonville composed 17 grands motets, of which only nine have survived. The motet Venite exultemus domino, published in 1740, won him the post of Maître de musique de la Chapelle (Master of Music of the Chapel). Thanks to his mastery of both orchestral and vocal music, Mondonville brought to the grand motet—the dominant genre of music in the repertory of the Chapelle royale (Royal Chapel) before the French Revolution—an intensity of colour and a dramatic quality hitherto unknown. In 1758, Mondonville introduced oratorios as a new genre at the Concert Spirituel.[3] OperasAlthough Mondonville's first stage work, Isbé, was a failure, he enjoyed great success with the lighter forms of French Baroque opera: the opéra-ballet and the pastorale héroïque. His most popular works were Le carnaval de Parnasse, Titon et l'Aurore and Daphnis et Alcimadure (for which Mondonville wrote his own libretto in Languedocien - his native Occitan dialect).[4] Titon et l'Aurore played an important role in the Querelle des Bouffons, the controversy between partisans of French and Italian opera which raged in Paris in the early 1750s. Members of the "French party" ensured that Titon's premiere was a resounding success (their opponents even alleged they had guaranteed this result by packing the Académie Royale de Musique, where the staging took place, with royal soldiers).[5] Mondonville's one foray into serious French opera - the genre known as tragédie en musique - was a failure however. He took the unusual step of re-using a libretto, Thésée, which had originally been set in 1675 by the "father of French opera", Jean-Baptiste Lully. Mondonville's bold move to substitute Lully's much-loved music with his own did not pay off. The premiere at the court in 1765 had a mixed reception and a public performance two years later ended with the audience demanding it be replaced by the original. Yet Mondonville was merely ahead of his time; in the 1770s, it became fashionable to reset Lully's tragedies with new music, the most famous example being Armide by Gluck.[4] Selected worksInstrumental
Operas
Grands MotetsMondonville's nine surviving grands motets are:
OratoriosMondonville's three oratorios (none survive) were:
Recordings of works by Mondonville
References1. ^Quoted in the booklet to Titon et l'Aurore 2. ^Biographical information: Viking, various booklet notes 3. ^C. Pierre, Histoire du Concert spirituel (Paris: Heugel, 1975) 4. ^1 Viking 5. ^Booklet notes to Titon et l'Aurore Sources
External links{{commons category}}
14 : French Baroque composers|French classical composers|French male classical composers|French opera composers|Male opera composers|French classical violinists|French male violinists|People from Narbonne|1711 births|1772 deaths|French ballet composers|Occitan-language writers|18th-century classical composers|18th-century French composers |
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