Jean-Paul C Montagnier
Biographic Data
| ID | 1053188 |
|---|---|
| NAME | Jean-Paul C Montagnier |
| GIVEN NAMES | Jean-Paul C |
| FAMILY NAME | Montagnier |
| SIGNATURE | MONTAGNIER J C |
| AFFILIATIONS | Université de Lorraine |
| ORCID | 0000-0001-8915-0758 |
| VERIFIED | Yes |
| TOTAL WORKS | 25 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 25 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1990 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Bernier and Italy: Bernardo Pasquini’s Partimenti and Nicolas Bernier’s Counterpoint
The Italian features of Nicolas Bernier’s musical style have already been brought to light, but one remains to be addressed: his contrapuntal writing and the relationship between the basso continuo and the other parts. Nothing is known of Bernier’s stay in Rome, but musical clues suggest that he was in contact with Bernardo Pasquini and that he may have practised the latter’s partimenti. Bernier’s output betrays musical gestures inherited from th…
The War of the Austrian Succession and the Masses by Henry Madin (1740–1748)
Henry Madin was the only sous-maître de la Musique of Louis XV’s Chapel to be a priest, and served in this capacity during the time of the War of the Austrian Succession (1740–8). Documents strongly imply that Madin was exceptionally receptive to the fate of the royal armies and also demonstrate his keen political acumen. Only motets à grand chœur were sung at the king’s Mass: composers connected with the Chapelle Royale had no necessity to set t…
The Polyphonic Mass in France, 1600–1780: The Evidence of the Printed Choirbooks
This is the first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. Though the musical settings of the Ordinarium missæ and of the Missa pro defunctis have been the subject of countless studies, the stylistic evolution of the polyphonic masses composed in France during the seventeenth and eighteenth centuries has been neglected owing to the labor involved in creating scores from t…
Polyphonic Mass in France, 1600-1780: The Evidence of the Printed Choirbooks
À la croisée des arts: Sublime et musique religieuse en Europe (XVIIe-XVIIIe siècles). Ed. by Sophie Hache and Thierry Favier
When Nicolas Boileau-Despréaux released Du Sublime (1674)—the first rendering of Longinus’ treatise in French, accompanied by several remarks on the translation—the satirist opened the door to a heated debate in the European Republic of Letters, in which Edmund Burke, John Dennis, and Immanuel Kant, among others, made their voices heard. Since then, scholars have appropriated the concept and have variously attempted to apply it to their disciplin…
French Grand Motets and Their use at the Chapelle Royale from Louis XIV to Louis XVI
Le Te Deum de Jacques Morel et le Concert spirituel d'Alexandre de Villeneuve comme exemples de divertissements sacres
In his « Discours sur la musique d'Eglise » (1706), Lecerf de La Vieville stated that the « music intended for gods, that he [Lully] put onto his theatre [stage], like sacrifices and invocations, shows us some admirableexamples of the exact observance of our rules. Let them be obeyed in the motets of our churches [... they] will make Christians pray excellently, » thus inciting composers to model their motets on Lully's operatic divertissements. …
Schottische und Walisische Lieder. Beethoven Werke, Abteilung XI, Band 1
Missa solemnis, opus 123
Dedicace au cardinal-archiduc Rodolphe de Habsbourg, en l'honneur de sa nomination comme cardinal et archeveque d'Olomouc (24 avril et 4 juin 1819). - Date de composition : 1819-1823. - 1re execution : Saint-Petersbourg, 18 avril 1824. - 1re ed. : Mayence : Schott, 1827
Figured Bass Accompaniment in France
Bernier, Nicolas
Les Surprises de l'Amour. Version 1757-1758. Opera omnia, serie IV, Volume 27, tome 2
Second livre de pieces de clavecin (Paris, vers 1735)
Zoroastre
Chanter Dieu en la Chapelle Royale: Le grand motet et ses supports litteraires
Psalms were central to the 17th- and 18th-century French piety, and were therefore very often set to music. As appendices 1 and 2 show, nearly 1005 «grands motets» are based on David's poems. In his Spectacle des beaux-arts, however, Jacques Lacombe stated that «all the psalms are not equally suit for music ; and those which were so, had been chosen and very well» rendered : thus, twenty of them were never used by grand-motet composers, whereas 3…
Ballet Music from the Mannheim Court. Part I: Christian Cannabich, Le Rendes-vous, ballet de chasse
Dixit Dominus
Orchestral Music in Salzburg, 1750-1780
Mass in D Major
Nine Settings of the Litanies de la Vierge
Le Te Deum en France à l'époque baroque: Un emblème royal
Les deux versions du cinquième acte d'Hypermnestre de Charles-Hubert Gervais
Le Chant sur le Livre au XVIIIe siècle: Les Traités de Louis-Joseph Marchand et Henry Madin
"De l'air da capo à un embryon français de "forme sonate: Les cas du Confitebor tibi et du Beatus vir de Nicolas Bernier
La fugue pour clavier en France vers 1700-1730: À propos des deux fugues de Pierre Février
No prominent works on this page.
La fugue pour clavier en France vers 1700-1730: À propos des deux fugues de Pierre Février
"De l'air da capo à un embryon français de "forme sonate: Les cas du Confitebor tibi et du Beatus vir de Nicolas Bernier
Le Chant sur le Livre au XVIIIe siècle: Les Traités de Louis-Joseph Marchand et Henry Madin
Les deux versions du cinquième acte d'Hypermnestre de Charles-Hubert Gervais
Nine Settings of the Litanies de la Vierge
Le Te Deum en France à l'époque baroque: Un emblème royal
Ballet Music from the Mannheim Court. Part I: Christian Cannabich, Le Rendes-vous, ballet de chasse
Dixit Dominus
Orchestral Music in Salzburg, 1750-1780
Mass in D Major
Zoroastre
Chanter Dieu en la Chapelle Royale: Le grand motet et ses supports litteraires
Psalms were central to the 17th- and 18th-century French piety, and were therefore very often set to music. As appendices 1 and 2 show, nearly 1005 «grands motets» are based on David's poems. In his Spectacle des beaux-arts, however, Jacques Lacombe stated that «all the psalms are not equally suit for music ; and those which were so, had been chosen and very well» rendered : thus, twenty of them were never used by grand-motet composers, whereas 3…
Bernier, Nicolas
Les Surprises de l'Amour. Version 1757-1758. Opera omnia, serie IV, Volume 27, tome 2
Second livre de pieces de clavecin (Paris, vers 1735)
Le Te Deum de Jacques Morel et le Concert spirituel d'Alexandre de Villeneuve comme exemples de divertissements sacres
In his « Discours sur la musique d'Eglise » (1706), Lecerf de La Vieville stated that the « music intended for gods, that he [Lully] put onto his theatre [stage], like sacrifices and invocations, shows us some admirableexamples of the exact observance of our rules. Let them be obeyed in the motets of our churches [... they] will make Christians pray excellently, » thus inciting composers to model their motets on Lully's operatic divertissements. …
Schottische und Walisische Lieder. Beethoven Werke, Abteilung XI, Band 1
Missa solemnis, opus 123
Dedicace au cardinal-archiduc Rodolphe de Habsbourg, en l'honneur de sa nomination comme cardinal et archeveque d'Olomouc (24 avril et 4 juin 1819). - Date de composition : 1819-1823. - 1re execution : Saint-Petersbourg, 18 avril 1824. - 1re ed. : Mayence : Schott, 1827
Figured Bass Accompaniment in France
French Grand Motets and Their use at the Chapelle Royale from Louis XIV to Louis XVI
À la croisée des arts: Sublime et musique religieuse en Europe (XVIIe-XVIIIe siècles). Ed. by Sophie Hache and Thierry Favier
When Nicolas Boileau-Despréaux released Du Sublime (1674)—the first rendering of Longinus’ treatise in French, accompanied by several remarks on the translation—the satirist opened the door to a heated debate in the European Republic of Letters, in which Edmund Burke, John Dennis, and Immanuel Kant, among others, made their voices heard. Since then, scholars have appropriated the concept and have variously attempted to apply it to their disciplin…
The Polyphonic Mass in France, 1600–1780: The Evidence of the Printed Choirbooks
This is the first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. Though the musical settings of the Ordinarium missæ and of the Missa pro defunctis have been the subject of countless studies, the stylistic evolution of the polyphonic masses composed in France during the seventeenth and eighteenth centuries has been neglected owing to the labor involved in creating scores from t…
Polyphonic Mass in France, 1600-1780: The Evidence of the Printed Choirbooks
The War of the Austrian Succession and the Masses by Henry Madin (1740–1748)
Henry Madin was the only sous-maître de la Musique of Louis XV’s Chapel to be a priest, and served in this capacity during the time of the War of the Austrian Succession (1740–8). Documents strongly imply that Madin was exceptionally receptive to the fate of the royal armies and also demonstrate his keen political acumen. Only motets à grand chœur were sung at the king’s Mass: composers connected with the Chapelle Royale had no necessity to set t…
Bernier and Italy: Bernardo Pasquini’s Partimenti and Nicolas Bernier’s Counterpoint
The Italian features of Nicolas Bernier’s musical style have already been brought to light, but one remains to be addressed: his contrapuntal writing and the relationship between the basso continuo and the other parts. Nothing is known of Bernier’s stay in Rome, but musical clues suggest that he was in contact with Bernardo Pasquini and that he may have practised the latter’s partimenti. Bernier’s output betrays musical gestures inherited from th…
Art (22 works) · Humanities (10 works) · Art history (7 works) · Historical and Literary Studies (7 works) · Literature (7 works) · Musicology and Musical Analysis (7 works) · Historical Influence and Diplomacy (5 works) · Renaissance Literature and Culture (5 works) · Historical and Literary Analyses (4 works) · Historical Studies and Socio-cultural Analysis (4 works)