Following on from — and complementing — the experimental workshops and masterclasses, the Centre de musique baroque de Versailles is offering four days of theory classes devoted to the major themes of interpretation in the French repertoire of the 17th and 18th centuries. Designed in collaboration with the CMBV research team, these days aim to explore the stylistic characteristics specific to French music of this period and to provide performers with keys to interpretation and research to enrich their approach to historically informed practice.
The aim of this second day is to provide the keys to understanding the essence of French style and its uniqueness in Baroque music. Among other things, participants will explore the stylistic characteristics of this period, as well as the fundamental principles that guide the interpretation of this repertoire, such as the art of ornamentation and embellishment in 17th and 18th century French music.
Objectives
- Explore and learn about the different musical genres of 17th and 18th century France
- Understand the main rules of ornamentation: discover the symbols and ornamental practices specific to French music, as well as their use in instrumental and vocal works
- Understand the issue of inequality and the different forms of embellishment: types of ornamentation such as trills, grace notes, mordents, portamento, etc., and understand their expressive role in musical performance
Trainer
Workshop coordinated by Thomas Leconte, researcher and editorial manager (CMBV - CESR)
Thomas Leconte is a researcher at the Research Centre of the Centre de musique baroque de Versailles, where he is also editorial manager of heritage collections. His research focuses mainly on social, religious and court music of the Grand Siècle (functions, repertoires, musical practices, identities). In addition, his historical, theoretical and practical knowledge of 17th and 18th century orchestral and choral writing frequently leads him to reconstruct the missing parts of works in the repertoire. He is currently working on a project (research, reconstruction, edition) on Lalande's Symphonies pour les Soupers du roi. He regularly collaborates with professional ensembles as a scientific advisor (concerts, recordings).
Training arrangements
- In-person workshop only
- Workshop conducted in French (discussions possible in English)
- Assessment methods: self-assessment and satisfaction questionnaire
- Alternating lectures, study of musical material, questions and answers
Programme
- The first part of the morning will offer an overview of music in France in the 17th century: the birth of the French style as a legacy of the Renaissance, the distinctive sound of the French orchestra Les Vingt-quatre Violons du Roy, founded by Louis XIII. The emergence of new, typically French musical genres will also be discussed: the grand motet, the comedy-ballet, musical tragedy and the air de cour. This sequence will offer an initial exploration of instrumental and vocal textures and colours, followed by a look at composition and practices at court and in the city.
- The second part of the morning will be devoted to the specificities of French ornamentation, playing techniques and the principles of uneven notes. Drawing on a variety of sources (treatises, methods, scores, ornamentation tables), the study will focus on specific examples from d'Anglebert's transcriptions of Lully's operas and Muffat's sources. The aim is to understand how musical language and practices can be rationalised for educational and transmission purposes.
- The afternoon will focus on the study of a specifically French musical genre: the grand motet. Through the analysis of three motets from three generations of composers, we will examine the evolution of the style of writing and orchestration, as well as the different uses of this genre. From the motet of the 1680s, written in a single movement by Lully or Dumont, in which the harmonic progression results from counterpoint, this genre gradually evolved into a motet in sections by Lalande, in which each verse has a different structure and style of writing. This will lead us to the almost theatrical works of Mondonville in the 1730s, in which the grand motet gradually moved away from its sole use at court.
Participants
- Performing artists
- Singers
- Dancers
- Open to knowledgeable amateurs, subject to availability
Maximum 20 participants
Prerequisites
- Working professionals
- Future professionals in training - currently enrolled in higher education (bachelor's, master's) or equivalent
Pricing conditions
Prices for a themed day
Full price covered: depending on coverage (contact the training centre administration for a quote)
Maximum individual contribution: €100 including VAT
Maximum individual contribution for students (up to 26 years old): €40 including VAT
CMBV workshops may be covered by continuing professional development programmes (Afdas, employers, etc.) for permanent or temporary employees.
Services included in the price:
- Access to CMBV premises (and tuning of instruments, if necessary)
- Full tuition fees (teachers, instruments, etc.) for the entire duration of the course
- Active participation in workshops
- Provision of documents and sheet music
- Loan or provision of instruments, if necessary
Restent à la charge des stagiaires :
- Travel expenses
- Accommodation expenses (meals and lodging)
Registration
To register, please complete the form available via the link below. You will receive confirmation of your registration no later than two months before the start of the workshop.
Accessibility
The CMBV's classrooms and teaching spaces are accessible to people with reduced mobility. If you have a disability that requires adjustments to the teaching, please specify this when you register. This information will be forwarded to the CMBV's disability officer, who will contact you to discuss possible adjustments.
Registration deadline: 2 April 2026
