Motets from 1705

François Couperin (1668-1733), nicknamed Le Grand to distinguish him from other composers within his family, wrote hundreds of works for solo harpsichord. But this master composed a great deal more than just witty, fantastic keyboard music. Serving as chapel composer to Louis XIV, Couperin was also required to supply occasional sacred and ceremonial music. Among such works, the 1705 collection of motets remain an underappreciated storehouse of beautiful music. Motets had been a primary sacred genre for centuries, and previous members of the family had contributed to the French motet. François himself composed around 25 of them, including the four heard this evening. Each is scored for voice, one or more treble instruments (normally violins or winds), and basso continuo. The 1705 set includes portions of Psalm 80 “Hear, O Shepherd of Israel,” with the verses broken up between movements.
The first two movements, Qui regis Israel and Excita potentiam tuam, are duets, whereas the fifth and sixth movements present soprano solo; the latter were possibly performed by Couperin’s teenage daughter who later succeeded him as court harpsichordist. Phrases are short and redolent of dance. The counterpoint in Qui regis is minimal and the ornaments more restrained than would be typical in a secular, operatic situation. As the text of Excita suggests a more active setting, Couperin responds with greater rhythmic interest and more points of imitation that chase one another through the text. Similarly, Operuit montes and Extendit palmitos suos form a tonally linked slow-fast pair centered around F minor. Operuit dazzles with rapid instrumental gestures, closes on an incomplete cadence, and flows directly into the graceful Extendit.

(c) Jason Stell