Works
Mouret composed mainly for the stage. He contributed to the emergence of the distinctively French genres of lyric tragedy and opera-ballet but his jealousy of the rising star of Jean-Philippe Rameau led to the bitterness and madness in which he ended his days:
- Les fêtes de Thalie opera-ballet for the Paris Opéra, (1714)
- Le mariage de Ragonde et de Colin for Sceaux, (1714) (1742 version: Les amours de Ragonde)
- Ariane et Thésée (1717)
- Pirithoüs Paris Opéra, (1723)
- Les amours des dieux Paris Opéra, (1727)
- Le triomphe des sens (1732)
- Les grâces héroïques (1733)
- Le temple de Gnide Paris Opéra (1741).
Mouret also wrote airs, divertissements, cantatilles, motets, and instrumental works (sonatas, fanfares). Among his other compositions, the two Suites de symphonies (1729) deserve special mention. The first suite, renowned for its Masterpiece Theatre theme, is entitled "Fanfare for trumpets, timpani, violins, and oboes" and dedicated to the son of the Duchess of Maine, the Prince of Dombes. The Concert Spirituel, conducted by Mouret himself, gave the premier performance of this suite. The second suite, scored for violins, oboes, and horns, was first played at the Hôtel de Ville before King Louis XV.
Read more about this topic: Jean-Joseph Mouret
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“Audible prayer can never do the works of spiritual understanding, which regenerates; but silent prayer, watchfulness, and devout obedience enable us to follow Jesus’ example. Long prayers, superstition, and creeds clip the strong pinions of love, and clothe religion in human forms. Whatever materializes worship hinders man’s spiritual growth and keeps him from demonstrating his power over error.”
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“Most works of art are effectively treated as commodities and most artists, even when they justly claim quite other intentions, are effectively treated as a category of independent craftsmen or skilled workers producing a certain kind of marginal commodity.”
—Raymond Williams (1921–1988)