Lorenzani-Motets

Paolo Lorenzani was born in Rome in 1640 as part of an artistic family. Few details remain as to his childhood, and a more accurate history starts in 1670. He was obviously a gifted singer who held several major posts as choir master in various churches. He eventually became choir master at the Cathedral in Messina, but fled with the French garrison to Paris when the Spanish invaded.

At that time Lully reigned supreme in the French capital, his aim being to banish all Italian influences so that French music could flourish. There was an immediate difference of interests, and while open hostilities never erupted between the two, it was obvious that both took whatever steps they could to undermine the influences each other possessed. Fortunately for Lorenzani the king, Louis XIV, became frequented with his music, and by both direct and indirect means helped to establish Lorenzani as a major French musical figure. Public approbation was more sparing.

Deaths within the Royal household lost him all influence at court in 1683. He tried to adopt a more French style to enter the 'commercial' market, and had unsuccessful attempts at writing opera. By now Lully was dead, but Lorenzani's life was no easier, and in 1694 he accepted the post of choral director at the Vatican in Rome. Seemingly he had made such an impression on the musical scene in Italy before his departure for Rome. He was to fill many more important roles in Rome in the following years, and appears to have been an influential musical figure, but he retained his position at the Vatican until his death in 1713.

In his final year in Paris, 1693, Lorenzani had a lavish book of his motets composed while in France, published in a last effort to gain public awareness. In fact it did nothing to help his cause. It is often said that these were composed for the king, though it would be more accurate to say that Lorenzani dedicated them to Louis XIV without his apparent permission. Whether they had all been performed before the king will again be open to speculation.

What is perfectly evident is the high quality of their craftsmanship, and while Lorenzani had introduced a French element, they were more typical of the Italian 'grand motet'. The works selected for this disc demonstrate the use of differing numbers of voices, the most simple divided into four parts, the Motet pour les confesseurs. In style they alternate between vocal and instrumental sections, the voice parts demonstrating the high standard of singing that was expected in Paris at that time.

They have for many years been confined to reference books, but as this disc will demonstrate, Lorenzani was a composer who had mastered the complexities of choral writing and had an equal gift for creating interesting and pleasant melodic compositions.

The modern Le Concert Spirituel was founded in 1988 with Herv� Niquet as director. Its object was to explore the music of the 18th century, the period the first group carrying the same name was formed. Since then it has gained international fame, and in recent years has made a number of recordings, including a series on the Naxos label.