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Michel Richard Delalande
1657 - 1726
France
Picture
M.R. Delalande
Michel Richard Delalande (15/12/1657 - 18/06/1726), a French composer and church organist (born in Paris). He was in service to Louis IV. His works include ballets and instrumental pieces as well as motets with instrumental accompaniment and other church music. The name is usually given as Lalande but Delalande is correct.
Requiem
Period:Baroque
Musical form:mass
Text/libretto:Latin mass
Michel Delalande wrote one requiem mass, which is not extand.
Source:The new Grove dictionary of music and musicians
De Profundis
Period:Baroque
Composed in:1689
Musical form:Oratoria/Grand motet
Text/libretto:Psalmus 129 (130)
Duration:23’51”
Label(s):BG-640
GAU-141
Erato 45014
CMC 7096 and VAN 8108
DeLalande’s De Profundis consists out of nine movements:

1. De Profundis Clamavi 5’40”
2. Fiant Aures Tuae intendentes. 1’24”
3. Si Iniquitates observaveris. 1’50”
4. Quia Apud te propitio. 1’59”
5. Sustimuit Amima Mea. 2’40 “
6. A custodia matutina. 1’52”
7. Quia Apud Dominum. 2’25”
8. Et Ipse Redimet Israel. 1’42”
9. Requiem - Et lux Perpetua. 4’27”

Michel-Richard DeLalande's (1657-1726) De Profundis, is composed in 1689 and is one of the masterpieces of French church music out of the Baroque area. This Psalm/Psalmus is set by Delalande for five voices (SATBB), basso continuo, five-part strings, organ, two obligato woodwind instruments (Flute and oboe), and five solo voices (two sopranos, contralto, tenor and bass). De profundis is based on the 129th Psalm (or 130) with two additional lines of text, generally included for the Catholic Burial Service or for a Requiem Mass. So Delalande did. In the services for the Dead this psalm 129 is sung at the beginning of the Exsequiarum ordo Defunctorum – in Exsequiis - see the old Liber Usualis page 1763, so at the moment when the body is at the entrance of the church. The De profundis consists in total out of nine movements following the text of the Psalm 129. Seen movement nine –Requiem aeternam and Et lux perpetua – this oratorio De Profundis has been without any doubt written by DeLalande for the Service for the Dead.
DeLalande gives in general French sacred music a nobility and intensity formerly found only in secular forms. DeLalande provided a maximum variety in texture by his various arrangement of the recitatives and solo arias with obligato instruments accompanied by the organ, and of the arias for a trio and quartet of solo voices alternating with sections of orchestra and chorus. This form of composing was really prophetic of the oratorio works of Bach a generation later. There are two versions of manuscript known and available, we will follow the first complete version of the score. The first movement De profundis clamavi is set for Baritone solo and full Chorus (SSATBB) as you will see sometimes with doubled Soprano. This movement is set in tempo gravement, accompany with full orchestra. The second movement Fiant Aures Tuae tuae intendentes is set for solo quartet Soprano 1, Soprano 2, Tenor 1 and Tenor 2 in tempo Rondement sans lenteur, with continuo accompany.
The third movement Si Iniquitates observaveris is set for Tenor solo in tempo rondement with solo continuo accompany. The fourth movement Quia Apud te propitio is set for a solo trio Soprano, Tenor and Baritone in tempo léger sans vitesse , too with continuo accompany. The fifth movement Sustimuit Amima Mea is set for Soprano solo in tempo gracieusement, with a nice oboe part and continuo accompany. The sixth movement A custodia matutina is set for full chorus (SSATBB) with some doubled Soprano, with a very repeating and praying “speret Israel in Domino, let Israel wait for the Lord” accompany with full orchestra. The seventh movement Quia Apud Dominum is set for Tenor solo in tempo gracieusement, with continuo and flute solo direct followed (attaca) by the eight movement Et ipse redimet Israel in full chorus (SSATBB) in tempo lègérement. This Ipse redimet Israel is direct followed by the ninth movement Requiem aeternam which starts with full Chorus (SATBB) in tempo lentement and is a very moving - due to a lot of dissonant notes – the last part of this Oratorio. It is followed and closed by a real joyful, hopeful, contrapuntal and lively written Et lux perpetua (SATBB) with elegant ascending quarter notes in all parts. DeLalande composed large volumes of music for the King's Chapel in Versailles. In several functions DeLalande was appointed as Surintendant de la Chapelle Royale and Maïtre de Musique and Compositeur ordinaire de la Chapelle et de la Chambre de sa Majestie (Louis XIV). In this function DeLalande composed many ballets, pastorales, and divertissements for the Royal Court, among others Symphonies de Noëls, Musique pour les Soupers du Roy, and concertos for trumpets and timbales for the elaborate Fêtes Nautiques staged on the Grand Canal at Versailles, performed by a large orchestra with hundred instruments from the various bands of the Chamber and Chapelle brought together with those of the Ecuries. In spite of all this Royal pomp and circumstances DeLande’s fame rests on his composed sacred music. The total score of DeProfundis (consisting out of 686 bars) was printed in the ninth book of an impressive collection of DeLalande's 40 Motets de Feu for chorus and orchestra – written for the Royal Chapel at Versailles – posthumously and handsomely printed in 1729 for DeLalande's devoted young admirer Louis XV.
Author:Wim Goossens
Text De Profundis

1. De profundis clamavi ad te, Domine; Domine, exaudi vocem meam.
2. Fiant aures tuæ intendentes in vocem deprecationis meæ.
3. Si iniquitates observaveris, Domine, Domine, quis sustinebit?
4. Quia apud te propitiatio est; et propter legem tuam sustinui te, Domine.
5. Sustinuit anima mea in verbo ejus. Speravit anima mea in Domino.
6. A custodia matutina usque ad noctem, speret Israël in Domino.
7. Quia apud Dominum misericordia, et copiosa apud eum redemptio.
8. Et ipse redimet Israël ex omnibus iniquitatibus ejus.
9. Requiem aeternam dona eis requiem, et Lux perpetua lucaet eis.

Translation:
1. Out of the depths I cry to you, O Lord; Lord, hear my voice!
2. Let your ears be attentive, to my voice in supplication:
3. If you, O Lord, mark iniquities, Lord, who can stand?
4. But with you is forgiveness, that you may be revered.I trust in the Lord;
5. My soul trusts in his word. My soul waits for the Lord,
6. More than sentinels wait for the dawn, let Israel wait for the Lord;
7. For with the Lord is kindness and with him is plenteous redemption;
8. And he will redeem Israel from all their iniquities.
9. Eternal rest give unto them, O Lord, And let perpetual light shine upon them.
Contributor:Wim Goossens
Dies irae
Period:Baroque
Composed in:1690
Musical form:motet
Text/libretto:Thomas de Celano (1190 - c.1255)
In memory of:Duchess Maria Anna Christina Victoria of Bavaria (Dauphine Victoire)
Label(s):Harmonia Mundi HMC 90 1352
This Requiem was written in memory of Duchess Maria Anna Christina Victoria of Bavaria (28/11/1660 – 20/04/1690) was Dauphine of France as spouse of Louis, le Grand Dauphin, son and heir of Louis XIV of France, and thereafter was known as Dauphine Victoire. She was the eldest daughter of Ferdinand Maria, Elector of Bavaria and his wife Adelaide Henriette of Savoy. Her maternal grandparents were Victor Amadeus I, Duke of Savoy and Christine Marie of France. Christine Marie was the second daughter of Henry IV of France and Marie de' Medici. She married Louis, Monseigneur, son and heir of Louis XIV of France, on 7 March 1680 in Chalons-sur-Marne. Her husband predeceased his father. She became the mother of the Dauphin Louis, Philip V of Spain and Charles de Bourbon, Duc de Berry. The dauphin, her first son, was father to Louis XV of France.
Picture
Dauphine Victoire
(dedicatee)
Dies irae
Period:Baroque
Composed in:1711
Musical form:motet
Text/libretto:Thomas de Celano
This Dies irae is lost.
Source:Dagny Wegner, Requiemvertonungen in Frankreich zwischen 1670 und 1850, Hamburg, 2005