Abstract
The 350th anniversary of the birth of Michel-Richard de Lalande (1657–1726) is a stimulus for a reassessment of the grands motets of the most influential composer for the chapel of Louis XIV and Louis XV after the court moved to Versailles in 1682. Lalande's interest in Italian music, notably that of Corelli, and his passion for continuous revision, are noted in the context of other, Parisian centres of interest in Italian style. Extracts from Lalande's late motets illustrate how ultramontane infl uences allied to formal, harmonic and contrapuntal skills of a high order produced works which were to dominate the repertory both of the chapel and the Paris Concert spirituel for some 50 years after the composer's death.
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