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| Composer : | Desmarets, Henri (1661 - 1741) | ||
| Instrumentation : | Oboe solo, String quartet | ||
| Style : | Baroque | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 25 Aug 2020 Henry Desmarets [or Desmarest] (1661 - 1741) was a French composer of the Baroque period primarily known for his stage works, although he also composed sacred music as well as secular cantatas, songs and instrumental works. He was born into a modest Paris household in February 1661. His mother, Madeleine née Frottier, came from a bourgeois Parisian family. His father, Hugues Desmarets was a huissier in the cavalry at the Grand Châtelet. Desmarets' childhood was marked by his father's death when he was eight years old, his mother's subsequent remarriage in 1670, and the death of his two siblings. In 1674, he entered into the service of King Louis XIV as a page and choir singer in the Chapelle Royale (Chapel Royal). According to Duron and Ferraton, he may have also previously sung as a choir boy in Saint-Germain l'Auxerrois which was the parish church of the kings of France. While in the service of the king, he received a general education as well as music training from Pierre Robert and Henry Du Mont. He is also thought to have received training from the court composer Jean-Baptiste Lully, who used the chapel pages as performers in his operas. By 1680 he had become an "ordinaire de la musique du roi" (court musician) and had composed the first of his grand motets (Te Deum 1678). The idyll-ballet which he composed in August 1682 to celebrate the birth of the king's grandson, the Duke of Burgundy, found great favour at court and the following year he entered the competition to select four maîtres (masters) of the Chapelle Royale. He was only 22 at the time and according to some accounts, the King had vetoed his selection after he had passed the first round on account of his youth. After the competition, Desmarets petitioned the king to allow him to leave France for study with Italian composers, but Lully objected on the grounds that it would diminish his command of the French style. Desmarets remained at the court and made money by "ghost-writing" works for one of the composers who had won the competition, Nicolas Goupillet. Goupillet was dismissed from his post ten years later when the deception came to light. In the meantime, Desmarets continued to find favour with his own compositions, most notably his motet Beati quorum (1683); his divertissement, La Diane de Fontainebleau (1686) and his first full-length opera, Endymion (1686). The first performance of Endymion was in the king's private apartments at Versailles, performed in parts over six days. The Dauphine was so pleased with it that at her request it was performed again in its entirety at the court theatre ten days later. Desmarets was increasingly gravitating towards stage works, but Lully's monopoly of the Académie Royale de Musique in Paris (granted by the king) meant that operas by other composers were not presented there until after his death in 1687. Source: Wikipedia (https://en.wikipedia.org/wiki/Henri_Desmarets) Although originally written for Baroque soloists & choir (G2, C3, C4, F4) or French Orchestra (G1, C1, C2, C3, F4), I created this arrangement of the Passacaille from the opera "Théagčne et Cariclée" for Oboe & Strings (2 Violins, Viola & Cello). | |||
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