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Henri IV - An unfinished reign

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Rendons grâces à Dieu

Claude Le Jeune

Source : ‘Inconstance et Vanité du Monde: musiques aux cours de France et de Savoie en 1601’; Anne Quentin [et altr.]; Astrée-Naïve E 8814 (2000).


This four-part prayer of thanks (Action de grâces) by Claude Le Jeune, here in an instrumental version, is based on rhymed vers mesurés by the Protestant poet Agrippa d’Aubigné, probably in the 1590s, in which we can see an imitation of Psalm 115 (Vulgate Bible: Psalm 116, Laudate Dominum, omnes gentes):


Claude Le Jeune

(ca. 1530–1600)

"Claudin" Le Jeune was born in Valenciennes. Sometime prior to 1564 he settled in Paris, where he quickly attracted the patronage of several Protestant seigneurs, including François de La Noue and Charles de Téligny (son-in-law of the admiral de Coligny). Later, starting in the 1570s, he received the support of Henri de La Tour d’Auvergne, vicomte de Turenne and future duc de Bouillon.

He played an active role in the humanist project of the Académie de Musique et de Poésie, which had been founded in 1570, and was one of the principal architects of musique mesurée à l’antique, in which French words were set to ancient metric forms in order to recreate the "effects" that ancient music was reputed to produce. He barely escaped being killed in the St. Bartholomew's Day massacre on 24 August 1572, and became "maistre de la Musique" of François de Valois – brother of Charles IX, the future Henri III and of Marguerite de Valois – and remained in the duc's service until the death of François in 1584. It was likely that Le Jeune met the king of Navarre, the future Henri IV, when François de Valois and his retinue stopped at Nérac in September 1580.

In the autumn of 1581, Le Jeune's composed several vocal pieces for the Balet comique de la Royne, which was performed at the festivities organised for the marriage of the duc de Joyeuse to Marguerite de Lorraine-Vaudémont. In 1590, he fled Paris to escape persecution by the Holy League. He found refuge in La Rochelle, where he rubbed shoulders with the great Huguenot poets of the era, including Jacques de Constans, Odet de La Noue, Agrippa d’Aubigné – some of whose texts he set to music. He also frequented Nicolas Rapin who, although Catholic, had abandoned the Holy League and sided with Navarre.

As soon as he acceded to the throne of France, Henri IV made Le Jeune one of his favourite musicians, and created the post of Maître Compositeur ordinaire de la Musique de la Chambre du roi just for him. But Le Jeune had little time to benefit from the king's largesse, as he died in September 1600.

His rich and varied opus (more than 600 pieces) was published between 1552 and 1612, most of it posthumously, at his sister's behest. It consists of many songs and airs, a number of which are set in "antique" metres, a dozen Latin motets that appear at the end of the two books of Mélanges, collections of Protestant songs in both simple and florid counterpoint and in "antique" metre, one authenticated mass (Missa Ad Placitum) and one of more dubious authenticity (the so-called "Savoie manuscript") and three instrumental fantasies.

Transcription (in French)

Rendons graces à Dieu, vous toutes nations,
Vous tous peuples unis en benedictions :
Chantons tant, que tout l’air plein rezone en ce lieu
D’un concert de loüange à Dieu.

Haussons l’ame et le cœur vers le Ciel à la fois,
Accordons doucement ame et cœur à la vois,
Chantons comme de Dieu dure à l’éternité
La clemence et la verité.

C’est Dieu dont la pitié au pitoyable sert,
C’est Dieu dont la rigueur l’impitoyable pert,
En ses faits, i’ paroist vray pere ou juge à tous,
Entier saint, equitable et dous

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