Jean-Joseph Mouret (April 11, 1682, Avignon - December 22, 1738, Charenton-… Read Full Bio ↴Jean-Joseph Mouret (April 11, 1682, Avignon - December 22, 1738, Charenton-le-Pont) was a French composer whose dramatic works made him one of the leading exponents of Baroque music in his country. Even though most of his works are no longer performed, Mouret's name survives today thanks to the popularity of the Fanfare-Rondeau from his first Suite de Symphonies, which has been adopted as the signature tune of the PBS program Masterpiece Theatre.
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.
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.
Rondeau from Suites de Symphonies Première suite Fanfares
Jean-Joseph Mouret Lyrics
We have lyrics for these tracks by Jean-Joseph Mouret:
Fanfare Qu’on nous casse les jambes Pour avoir envahi le boulevard S…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@cuauhmolinasoul
Jean-Joseph Mouret (Aviñón, 11 de abril de 1682 — Charenton, 22 de diciembre de 1738) fue un músico francés del Barroco.
Biografía
Fue hijo de un comerciante de seda que le hizo dar una buena educación y, constatando sus dones precoces para la música, favoreció su elección. Cantaba con talento y comenzó a componer con éxito. Hacia los 25 años, se estableció en París. No tardó en ser conocido y entrar en contacto en 1708 con Anne-Louise Bénédicte de Bourbon-Condé, duquesa del condado de Maine, a lo cual favoreció su carácter agradable. Llegó a ser superintendente de música en la corte de Sceaux.
Se casó y tuvo una única hija. Colaboró en la Académie royale de Musique, así como en la Comédie-Italienne. Más tarde fue nombrado director del Concert Spirituel, lo que le procuró el desahogo económico. A pesar de ello, el final de su vida fue ensombrecida por sus desengaños, viéndose afectado por la decadencia y la locura. Acabó pobremente su vida en un hospicio religioso de Charenton.
Su obra
Mouret compuso principalmente para la escena (tragédies en musique, opéras-ballets), siendo las más destacadas las siguientes obras:
1714 - Les Fêtes de Thalie
1714 - Les amours de Ragonde
1717 - Ariane, tragédie lyrique en 5 actos y un prólogo, con libreto de François-Joseph de Chancel y Pierre-Charles Roy, representada en la «Académie royale de musique» el 6 de abril de 1717.
1723 - Pirithoüs
1733 - Les Grâces héroïques
1732 - Le Triomphe des sens
También ha escrito airs, divertissements, cantatilles, música instrumental (sonatas, fanfarrías y motetes).
Es necesario destacar, entre otras composiciones, las dos suites sinfónicas. La primera se titula Fanfares para trompetas, timbales, violines y oboes y fue dedicada al hijo de la duquesa de Maine, la princesa de Dombes, siendo interpretada en los «Concert Spirituel» de los que Jean-Joseph Mouret era el director. La segunda, para violines, oboe y trompas de chasse, fue interpretada en el Hôtel de Ville de París en presencia de Luis XV de Francia.
@Rylosalex
I remember hearing this playing on the radio, loving it and walking back in forth in the living room pretending to be a queen greeting her subjects LOL I've forgotten how short this piece is
@Emily-if4wi
I can never play it only once 😁
@mayiebee
gfi
@bakerstreet101
LOL :D
@EVH3730
I have always loved Mouret's Rondeau since I was a child.
@Anjuli50
Certainly takes me back to my teenage years of watching Alistair Cooke introduce "Masterpiece Theatre" every week on PBS. LOVE that show -- and this music!
@stephenhoward6829
Quite! PBS's running of such gems from the BBC made TV watchable. Got my daughter hooked on such as well, and at times her spoken English would become ever-so-British. It didn't hurt at all that she would slip into that verbal modality when correcting an errant presentment from a teacher, starting in early grade-school.
@elonmust7470
I was a kid watching mom enjoy the show.0
@godsmacked1000
I knew it! This is the song!
@pookypie3
This is the most regal bit of music I’ve ever heard, and this particular rendition is so spot on. The tempo and energy are just perfect!