Grand master of Royal Music, Lully distinguished himself above all in ballet, comedy and opera, which he invented to meet the new demands of Louis XIV in terms of the artistic influence of the French kingdom. But Lully, whose genius is polymorphic, finds the opportunity to extend his hold to the sacred sphere and repeatedly composes great motets worthy of supplanting those of the Deputy Masters of the Royal Chapel, Dumont and Robert. Created for special occasions in court life, these motets are inspired by the great polyphonic tradition inherited from the Renaissance and add the theatrical accents and pomp specific to the Versailles baroque.

The Grand Motet (plural grands motets) was a genre of motet cultivated at the height of the French baroque, although the term dates from later French usage. At the time, due to the stylistic feature of employing two alternating choirs, the works were typically described as motet pour deux choeurs - motet for double choir.

In the context of French baroque music the grand motet primarily contrasted with the petit motet. The first distinction is evident in the name; the grand form was truly grand (big) in proportion calling for double choirs and massed orchestral forces, whereas the petit form was a chamber genre for one or two solo voices, one or two solo instruments, and basso continuo - the basso continuo typically provided by the harpsichord at home or organ in a smaller church.

These two French baroque motet types are also very distinct from the medieval motets of Dufay and renaissance motets of Lassus, and the German motet style of J. S. Bach. The French motet type was also connected to, and determined by, the occasion and venue; whereas the grand motet was cultivated at Versailles, the Chapelle royale. The petit motet, unless accompanying a larger event, could also be for private often domestic devotions. The texts varied also; a grand motet was generally a Latin psalm, hymne, Biblical cantique or Dies irae, while the petit motet could be shorter Latin verses from a variety of religious sources.

Director: Leonardo García Alarcón (Music Director)
Cast: Sophie Junker (Soprano), Judith Van Wanroij (Soprano), Cyril Auvity (Counter Tenor), Matthias Vidal (Tenor), Thibaut Lenaerts (Tenor), Alain Buet (Bass), Namur Chamber Choir, Millenium Orchestra