Mouret's father was a prosperous silk merchant of Avignon, an amateur violinist who recognized his son's precocious musical abilities and provided him with a fine education. The elder Mouret generously supported his son's decision to pursue a musical career. As a youth, Mouret proved himself a talented singer while also earning success for his compositions.
Around the age of twenty-five, Mouret settled in Paris. News of his arrival did not take long to spread and he was introduced to Anne, Duchess of Maine, whose salon at Sceaux was a center of courtly society in the declining years of Louis XIV. His genial character strongly assisted him in securing the patronage of the Duchess, who made him her Surintendant de la musique at Sceaux about 1708. At Sceaux he produced operas and was in charge of the sixteen bi-weekly Grandes Nuits in the season of 1714–1715, for which he produced intermèdes and allegorical cantatas in the court masque tradition, and other music, in the company of the most favoured musicians, for the most select audience in France. Mouret thus launched his adult career under highly favorable auspices.
At court Mouret maintained a post as singer, and directed the grand divertissements offered by the Regent, the duc d'Orléans at his château of Villers-Cotterêts on the occasion of Louis XV's coming-of-age, 1722.
In Paris he collaborated with the Académie Royale de Musique. He directed the orchestra of the Paris Opéra (1714–18), composed music and directed the Nouveau Théâtre Italien du Palais-Royal (1717–37)— for which he composed divertissements that accompanied, for example, the tender comedies of Marivaux, and which, printed, fill six volumes. Concurrently, he was director of the concert series established by the orchestra of the Opéra, the Concerts Spirituel (1728–34), positions which provided a public outlet for his own music and which permitted him to live in affluence. Mouret married and had one daughter. However, his later years were overshadowed by financial and social disappointments. Sinking into poverty, Mouret died in a charitable asylum run by the Church in Charenton-le-Pont.
Fanfare
Jean-Joseph Mouret Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pour avoir envahi le boulevard
S’il faut qu’on y rampe
J’aime mieux ramper que de me rasseoir
Qu’on nous crève les yeux
Pour avoir vu qu’on s’faisait avoir
S’il faut perdre les deux
J’aime mieux ramper que de me rasseoir
Qu’on nous cloue la bouche
Pour avoir parlé dans notre langue
S’il faut qu’on la boucle
J’écrirai mes mots sur les murs des banques
Et qu’on nous brûle les bras
Pour avoir encerclé les fraudeurs
S’il faut de la douleur
J’aime mieux brûler que de blanchir au noir
Tant qu’il nous reste le cœur
Et la mémoire
Sept mille deux cent battements à l’heure
Comme une fanfare
Qui fait rougir les grandes artères
Jusqu’aux trottoirs
Dans une marée de lumière
Comme une fanfare
Qui reprend chaque soir
J’aime mieux rêver
Que d’voir sans y croire
Que d’voir sans y croire
Que de blanchir au noir
Que de me rasseoir
Mais qu’on nous laisse rêver…
The lyrics to "Fanfare" by Jean-Joseph Mouret are about the struggles of the working class and the lengths they must go to in order to stand up for themselves. The first verse talks about how they are willing to crawl on the ground rather than sit back and accept defeat, even if they are beaten down by those in power. The second verse speaks to the idea that they would rather lose everything they have, even their ability to see, than go through life knowing they have been taken advantage of. The third verse touches on the idea that they are willing to risk being silenced in order to speak up for themselves, using whatever means necessary to make their voices heard. Finally, the chorus reassures the listener that, even if everything is taken away from them, they will always have their heart and their memories, represented by the metaphor of a fanfare that can be heard even in the face of adversity.
The lyrics paint a picture of resilience and defiance in the face of oppression, regardless of the cost. The use of vivid imagery and metaphors helps drive home the point that the working class will not be silenced, no matter what those in power try to do to them. Ultimately, this song serves as a rallying cry for the downtrodden, urging them to stay strong and fight for what they believe in no matter what the cost.
Line by Line Meaning
Qu’on nous casse les jambes
If we are to be punished for occupying the boulevard, rather than sitting idly by, I'd rather crawl on the ground, no matter what that does to my legs.
Qu’on nous crève les yeux
If we must suffer for recognizing that we're being exploited, I'd rather lose both eyes than see the truth and not believe it.
Qu’on nous cloue la bouche
If we are to be silenced for speaking our own language, I'll write my words on the walls of the banks.
Et qu’on nous brûle les bras
If we are to be punished for encircling fraudsters, I'd rather be burned than become complicit in their illicit activities.
Tant qu’il nous reste le cœur Et la mémoire
As long as we have our hearts and our memories, we can still fight.
Sept mille deux cent battements à l’heure Comme une fanfare Qui fait rougir les grandes artères
Our hearts beat fiercely, like a fanfare, inciting a passion that runs through the veins of the city.
Jusqu’aux trottoirs Dans une marée de lumière Comme une fanfare Qui reprend chaque soir
Our passion permeates every inch of the city, bringing light to the darkness, and we will continue to do so every night.
J’aime mieux rêver Que d’voir sans y croire Que de blanchir au noir Que de me rasseoir
I'd rather dream, no matter what the cost, than live a life of ambiguousness, where I am colorless and still.
Mais qu’on nous laisse rêver…
Just let us dream.
Lyrics © MONETIZE YOUR CREATIONS
Written by: Louis-Jean Cormier
Lyrics Licensed & Provided by LyricFind
TheDeepCSailor
This is a wonderful version. Pace just correct and a wonderful tone with the trumpets at the right place in the ensemble. I doubt that there is a better version. Mouret, I am sure, would be proud of his creation.
condedetrevino
I just love this magnificent rendition. Thank you so very much for sharing.
davidhertzberg
condedetrevino THanks for writing, my pleasure. david
Vaillant Caviste 11 73
C'est toujours un ravissement de pouvoir ré-écouter un si beau morceau joué par un grand ténor de la trompette !!!
Miguel Ángel Basáñez Loyola
Magnífica interpretación, muy amable por compartir esta bella joya del género barroco.
Juan Jose Morales
I had the NONESUCH LP before MASTERPIECE THEATRE came to Puerto Rico, so it was a thrill to recognize the opening tune, and it's an even greater thrill to have the complete suite once again.
Arnaud Van den Bosch
Cette fanfare est l'un de mes morceaux préférés en musique baroque.
Belkis Martin
Hermosisimo todo ello, gracias porque esta música es preciosa 🌿Feliz jueves.
roberto marinas
Thank you for sharing this. Love it!
gerard delpech
De nos jours il est de "bon ton" de dénigrer JF. Paillard, pourtant la redécouverte du répertoire baroque français lui doit beaucoup. A tel point que nombre d'oeuvres interprétées par son ensemble attendent toujours d'être à nouveau d'être disponibles dans des versions actuelles.