Routledge Music at the Maison royale de Saint-Louis at Saint-Cyr

The history of music at the Maison royale de Saint-Louis at Saint-Cyr ― the famous convent school founded by Madame de Maintenon and established by Louis XIV in 1686 as a royal foundation ― is both rich and intriguing; its large repertory of music was composed expressly for young female voices by important composers working within significant contemporary musical genres: liturgical chant, sacred motets, theatrical music, and cantiques spirituels. While these genres reflect contemporary styles and trends, at the same time the works themselves were made to conform to the sensibilities and abilities of their intended performers. Even as Jean-Baptiste Moreau's music for Jean Racine’s biblical tragedies Esther and Athalie shows a number of similarities to contemporary tragédies lyriques, it departs from that more public genre in its brevity, generally simpler solo writing, and the integral use of the chorus. The musical style of the choral numbers closely parallels that of other choral music in the repertory at Saint-Cyr. The liturgical chant sung in the church was composed by Guillaume-Gabriel Nivers, and is an example of plain-chant musical, a type of new ecclesiastical composition written during the seventeenth and eighteenth centuries, primarily for female religious communities in France. The large repertory of petits motets (short sacred Latin pieces for solo voice), mostly composed by Nivers and Louis-Nicolas Clérambault, are simpler and more restrained than works by their contemporaries. A close study of the motets reveals much about changes to musical style and performance practices at Saint-Cyr during the eighteenth century. The cantique spirituel, a song with a spiritual text in the vernacular French language, played a significant role in both the education and recreation of the girls at Saint-Cyr. Cantiques composed for the girls vary widely in terms of their style and difficulty, ranging from simple strophic melodies to more sophisticated works in the style of contemporary airs. In all cases, the stylistic features of the music for Saint-Cyr reflect a careful consideration of the needs and capabilities of the young singers of the school, as well as an awareness of the rigorous requirements of Madame de Maintenon, who kept a close watch over the propriety of all things relating to the piety, behavior, and image of her charges. Review "Because so much of the religious music of France was destroyed in the ravages of the dechristianization movement, the sources that survive from Saint-Cyr, including its music library and many documents related to its history and its musical activity, are treasures that take on greater significance, one that must be viewed in context due to the exceptional nature of the Maison Royale. Deborah Kauffman’s thorough and inquiring study offers much that will be of relevance to historians with interest in women’s studies, the education of women, French history, society in the seventeenth and eighteenth centuries, and the musicological understanding of the old regime." ―John Hajdu Heyer, Journal of Seventeenth-Century Music About the Author Deborah Kauffman is Professor of Music at the University of Northern Colorado. She received her doctoral degree from Stanford University. Her primary area of research focuses on music of the French Baroque, particularly sacred music and music composed for the Maison royale de Saint-Louis at Saint-Cyr. She is the editor of two volumes in the A-R Publications series "Recent Researches in Baroque Music" (2013 and 2001). She serves as editor-in-chief of the Journal of Musicological Research.