Marais, Couperin, Corrette, Sainte-Colombe, Rameau

In contrast with the opulence of the opera-ballet, the Vingt-quatre violons or the sacred music at Versailles, chamber music played an preeminent role in court life. As he aged, Louis XIV was more interested in his private music than in the great spectacles that he and Lully had designed in earlier years. The extraordinary legacy of 17th century chamber music introduces us to a deeply moving musical language. It evokes an intimate world that privileges an unprecedented freedom of expression and illuminates the private rather than the public face of the Grand Siècle.