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CAMPRA: REQUIEM

Homepage CAMPRA : REQUIEM

Summary

Concert
  • Friday March 7th 2025
  • Royal Chapel
  • 8:30pm | 1h30 with intermission
Homepage CAMPRA : REQUIEM

Cast

Presentation

André Campra (1660–1744), a Provençal composer and renowned Maître de Chapelle at the cathedrals of Toulon, Arles, Toulouse, and Paris, likely composed this Messe de Requiem shortly after his arrival in Paris in 1694, during his tenure directing the choir of Notre-Dame. Written for a service commemorating the Archbishop of Paris, Monseigneur François de Harlay, in November 1695, this mass belongs to a period when Campra’s sacred music reached full maturity. Traditional polyphony is handled with the same expressiveness as the solo airs, already hinting at the composer’s affinity for opera—he began writing his opera-ballet L’Europe galante around this time. The instrumental sections, far from being mere preludes, interludes, or postludes, also reflect the sensitivity of the future sous-maître of the Chapelle Royale at Versailles.

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Since its foundation, the cathedral of Notre-Dame de Paris has brought together the greatest musicians of its time. As soon as the edifice was completed, it became the birthplace of polyphony: this novel art of layering multiple voices created harmonies unlike anything heard before. Singing lay at the heart of the services, bestowing them with a grandeur that earned them fame far beyond the capital of the kingdom. From the Middle Ages onwards, many singers, organists, composers, and maîtres de chapelle contributed to Notre-Dame’s illustrious musical history.

 

In the 17th century, while the Chapelle Royale garnered much attention as the court became the focal point of power, Notre-Dame remained a rich hub of musical artistry. Indeed, the Chapelle Royale drew most of its musicians from Notre-Dame. This program pays tribute to the great composers associated with the cathedral. Despite the conservatism of religious authorities, Paris’s cathedral remained, throughout the 17th century, the epicenter of sacred music, thanks to its resources and its ambition to be the foremost sacred site in the kingdom. Its newly restored organ was a masterpiece of modernity, attracting the finest organists who established a celebrated school of playing admired throughout Europe, even by Bach. The most creative talents of the time succeeded one another as maîtres de chapelle and composers, offering liturgical splendor despite the strict constraints imposed by the chapter.

 

After his training in the choir school of Notre-Dame de Paris, Pierre Robert quickly gained recognition as one of the most inventive composers of his time. Following a decade as maître de chapelle at the cathedral, the young Louis XIV naturally entrusted him, alongside Henry Du Mont, with overseeing the music of his chapel in the 1660s. Together, they invented the grand motet genre, which would endure until the Revolution and set the standard across Europe as a hallmark of French music. François Cosset, Jean Veillot, and Jean-François Lalouette were also among the maîtres of Notre-Dame who elevated the reputation of French sacred music with their exceptional works.

 

Like his predecessors, André Campra followed the typical path of church musicians of his time. Trained as a young singer in the choir school of Aix-en-Provence under Guillaume Poitevin, he mastered the art of ecclesiastical singing, church modes, and ceremonial practice. Exceptionally gifted, he soon turned to composition. Although he quickly left his position as maître de chapelle at Notre-Dame—anecdotes suggest his irresistible attraction to the stage clashed with the respectability demanded by the cathedral’s canons—he dedicated himself to opera, which brought him fame at the century’s end. His sacred music remains a cornerstone of his oeuvre. The Requiem stands as one of the most remarkable works of the Grand Siècle. Contrary to what a modern ear might expect from such a text, the music radiates a solar intensity: Campra offers his unique interpretation of an ancestral text and a distinct vision of death. The eternal light (lux perpetua) lies at the heart of this southern, resolutely positive, profound, and radiant work.

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Programme

First part : 35 minutes

Intermission

Second part : 45 minutes

 

Jean Veillot (?-1662)

Sacris Solemniis

 

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François Cosset (1610-1664)
Missa Domine Salvum fac Regem
1. Kyrie
2. Christe
3. Gloria

 

Jean Veillot
Ave Verum

 

François Cosset
Missa Domine Salvum fac Regem
4. Sanctus
5. Agnus

 

Jean Veillot
Domine Salvum fac Regem

 

Pierre Robert (1618-1699)
Christe Redemptor

 

Intermission

 

Anonyme (plain-chant)
Templi sacratas

 

André Campra (1660-1744)
Messe de Requiem

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And also…

Campra – Le Destin du Nouveau Siècle

N°61
Patrick Bismuth conducts the very first recording of this work by Campra written for the college of Louis le Grand. Lost for nearly 300 years, this score was rediscovered in 2015!
More info

The Royal Chapel of the Château de Versailles

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Prices
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53€ à 106€

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    92€
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  • Vente privée Hiver 2025
    53€
Catégorie 1

32€ à 65€

  • Tarif Plein
    65€
  • Tarif moins de 26 ans
    54€
  • Carte CVS
    54€
  • Vente privée Hiver 2025
    32€
Catégorie 2

41€ à 49€

  • Tarif Plein
    49€
  • Tarif moins de 26 ans
    41€
  • Carte CVS
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Catégorie 3

22€ à 27€

  • Tarif Plein
    27€
  • Tarif moins de 26 ans
    22€
  • Carte CVS
    22€

PRESTIGE VIP CATEGORY: Best seats in house with complimentary glass of champagne and programme.

 

PRESTIGE CATEGORY: Excellent seats with complimentary glass of champagne and programme.

 

REDUCED RATE: applicable to under 26s, Chateau de Versailles Spectacles card holders and groups of more than 10 people (excluding special company offer).

 

GROUP RATES: for more information, please refer to our page dedicated to works councils and groups.

 

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To ensure the best welcome possible, people with limited mobility are advised to book their seats by telephone.

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