Vos mepris

Among his more notable contemporaries, Michel Lambert (1610-1696) was particularly revered for his “airs” or songs for accompanied solo voice. Not that he ignored other genres; his lute works are still treasured, and he earned a living also as a dance instructor. At one point, he also held the post of “master of the king’s chamber music.” Still, Lambert’s signature repertoire centers on solo voice. His feeling and sensitivity to text helped in the evolution of classical French opera as typified by his son-in-law, Jean-Baptiste Lully. Lambert’s outstanding collection, a volume of sixty airs published in 1689, includes Vos mepris chaque jour, which is itself perhaps his most well-known piece. Vos mepris unfolds as an ABA form: the outer sections are instrumental, the middle one includes the voice. Its appeal is both immediate and enduring. It combines several alluring features, none more important than the repetitive “ground bass” harmonic foundation. This repetition becomes a vehicle for improvisation and display. But it also means the form is technically “open”; the exact number of phrases can be adjusted to suit the occasion. Add canonic imitation between the treble lines and the gentle lilt of triple meter to the sweet opening motif, which ascends from mi to sol in a resplendent G major, and you have all the features of a classic air.

(c) Jason Stell