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without an initial motto, follow each other freely, while the expressive melody, with few wide intervals or long melismas, is rooted more in the French tradition. Les nuits de Sceaux contains
Bernier's only instrumental pieces: dances and two overtures which adopt the Lullian structure but are italianate in style. The 45 petits motets, the 36 grands motets and the 39 cantatas exhibit a stylistic feature peculiar to Bernier: the often systematic repetition of a motif, whether or not it is transposed. Bernier had a reputation as a contrapuntist, and the polished writing of fugal choruses in Beatus vir and Confitebor tibi Domine bear witness to his skill. Two of his grands motets were sung several times at the Concert Spirituel from 1725 onwards. Most of his Principes de composition is devoted to two-part counterpoint; the work resembles the treatises of Nivers and Masson."
183:. In 1715 he took part in the divertissements organized by the Duchess of Maine at her chùteau of Sceaux. In January 1723, at the request of the regent, Michel-Richard de Lalande gave up three of his four trimestrial periods of duty as sous-maßtre de musique at the Chapelle Royale. The posts thus created were allotted, without being thrown open to competition, to André Campra, Charles-Hubert Gervais and Bernier, who officiated during the summer term of duty until his death. In 1726 Lalande's term became vacant when he died, and was shared between the remaining sous-maßtres, with Bernier taking charge of the education of the Chapelle pages until 1733. He was in fact famous as a teacher. He wrote a treatise entitled Principes de composition and numbered Louis-Claude Daquin among his pupils.
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he obtained a similar position at St
Germain-l'Auxerrois, Paris. A Te Deum performed before the king at Fontainebleau on 24 October 1700 was very successful, and was sung again in several Parisian churches in 1701 and 1704. On 5 April 1704 he succeeded Marc-Antoine Charpentier as maĂźtre de musique of the Sainte-Chapelle, resigning from this post on 18 September 1726 in favour of his friend François de La Croix. It had taken the patronage of Philippe, Duke of OrlĂ©ans, for him to keep the position after his marriage to Marie-Catherine Marais on 20 June 1712, since the rule of the Sainte-Chapelle required its maĂźtre de musique to be âa celibate in clerical garbâ. In spite of Le Cerf de La ViĂ©ville's claim, Bernier was not an abbĂ©, but only an acolyte entitled to wear the
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174:"French composer, harpsichordist, theorist and teacher. He probably learnt music in the maĂźtrise of the collegiate church of Notre Dame, Mantes, and in that of Evreux Cathedral. According to the Etat actuel de la Musique du Roi (1773) he then studied with Caldara in Rome. In 1692 Bernier was living in the
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in Paris and was teaching the harpsichord. On 20 November 1693 he failed to win the post of maĂźtre de musique at Rouen
Cathedral in competition with Jean-François Lalouette. He was appointed head of the maßtrise of Chartres Cathedral on 17 September 1694 and remained there until 18 March 1698, when
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Grands motets, all SATBB, str: Beatus vir, F-Pc; Benedic anima mea, Pc; Cantate Domino, LYm; Confitebor tibi Domine, Pc; Cum invocarem, LYm; Deus noster refugium, Pc; Lauda anima mea
Dominum, Pc; Lauda Jerusalem, Pc; Laudate Dominum quoniam, Pc; Miserere mei, Pc; Venite exultemus, Pc
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Bernier offered a personal solution to the union of French and
Italian tastes. He achieved equilibrium between the two styles in his first book of French cantatas, a genre of which he was one of the first creators together with Jean-Baptiste Morin. Vigorous recitatives and da capo airs, with or
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Principes de composition de Mr
Bernier (MS, F-Pn, n.d.); Eng. trans. in P.F. Nelson, Nicolas Bernier: Principles of Composition (Brooklyn, NY, 1964)
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Motets attrib. Bernier, all doubtful authenticity: Quis habitat, Resonate, Salve regina, Sicut cervus, all Pn; Haec dies quam fecit
Dominus, LYm
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P.F. Nelson: âNicolas
Bernier (1665â1734): a Bibliographic Studyâ, Studies in Musicology, ed. J.W. Pruett (Chapel Hill, 1969), 109â17
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Works in Pc attrib. Bernier, all doubtful authenticity: PolyphĂšme, cantata, B, insts ; 3 duos and 1 air in
Recueil d'airs choisies
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P.F. Nelson: Nicolas
Bernier (1665â1734): a Study of the Composer and his Sacred Works (diss., U. of North Carolina, 1958)
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3 motets, 1v, and 1 motet, 3vv, in Motets ... par Mr. de la Croix, 1â3vv, bc, some with insts, op.1 (1741)
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J.A. Kotylo: A Historical and Stylistic Study of the Petit Motet 1700â1730 (diss., U. of Colorado, 1979)
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he is probably the most Italian-influenced French composer of this era, and replaced Charpentier as
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Les nuits de Sceaux, concerts de chambre, ou cantates françoises, solo vv, bc, insts, bk 5 (1715)
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Chants des offices de différents Saints nouveaus, cited in PrivilÚge Général, 3 March 1724, lost
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N. Dufourcq and M. Benoit: âA propos de Nicolas Bernier (1665â1734)â, RdM, 39 (1957), 78â91
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M.J. Voloshin: The Secular Cantatas of Nicolas Bernier (diss., U. of Kentucky, 1984)
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Cantates françoises ou musique de chambre, 1â2vv, bc, some with insts, bk 1â4 (1703)
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Cantates françoises, ou musique de chambre, 1v, bc, some with insts, bk 7 (1723)
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Cantates françoises, ou musique de chambre, 1v, bc, some with insts, bk 6 (1718)
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P.F. Nelson: âPrincipes de composition de Mr Bernierâ, RMFC, 2 (1961â2), 95â8
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P.F. Nelson: âNicolas Bernier: a RĂ©sumĂ© of his Worksâ, RMFC, 1 (1960), 93â8
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P.F. Nelson: âNicolas Bernierâ, RMFC, 18 (1978), 51â87; xix (1979), 51â101
342:: âDe l'air da capo Ă un embryon français de âforme sonateâ: les cas du
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D. Tunley: The Eighteenth-Century French Cantata (London, 1974, 2/1997)
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repr, in The Eighteenth-Century French Cantata, viâvii (New York, 1990)
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repr. in The Eighteenth-Century French Cantata, viii (New York, 1990)
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repr. in The Eighteenth-Century French Cantata, viii (New York, 1990)
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repr. in The Eighteenth-Century French Cantata, viii (New York, 1990)
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repr. in The Eighteenth-Century French Cantata, vi (New York, 1990)
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151:), the son of RĂ©my Bernier and Marguerite Bauly. He studied with
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1 air in Nouveau recueil de chansons choisies, bk 7 (1736)
332:: âAttributing Early Music: the Case of Nicolas Bernierâ,
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Les nymphes de Diane, cantate françoise, 2vv, bc (1703)
135:(28 June 1664 – 5 September 1734) was a French
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and is known for an Italian-influenced style. After
278:several airs in Nouvelles poĂ©sies, bk 1â8 (1703â7)
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275:1 air in Recueil d'airs sérieux et à boire (1706)
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209:Motets, 1â3vv, bc, some with insts, op.2 (1713)
203:Motets, 1â3vv, bc, some with insts, op.1 (1703)
402:International Music Score Library Project
109:Learn how and when to remove this message
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364:and the Italian Partimento Traditionâ,
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368:, 49 (February 2021), p. 87-100.
195:all printed works published in Paris
147:He was born in Mantes-sur-Seine (now
222:Leçons de TénÚbres, S, bc, LYm, V
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360:: âNicolas Bernier's
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