The problems of “reduced scores” and performing forces at the Chapelle Royale of Versailles during the tenure of Henry Madin (1738–1748)

Abstract

In spite of extensive research, the performing forces required daily at the Chapelle Royale can only be surmised. This article delves into this important issue by examining the still underappreciated lists of parts to be copied found in nineteen out of the thirty volumes of grands motets Henry Madin (1698–1748) composed for the king's Chapelle. A comparison between these lists and the extant separate parts shows that in most cases the total number of parts to be copied and the actual total number of surviving parts are identical. Thus, it can be ascertained that the great majority of the still existing material is complete, and that the scores were beyond any doubt performed as they are copied, i.e. with a three‐ (or even two‐) part orchestra and a five‐part choir. Madin's motets, therefore, prove to be an excellent starting point in order to reconstruct the necessary forces to perform them—and comparable ones—during his tenure at the Chapelle (1738–1748). Since choristers and soloists performed from their own parts, the total number of singers matches exactly the number of parts still available. Similarly, it can be estimated that Madin had 20–22 instrumentalists at his disposal. These results suggest that all the Chapelle musicians did not serve daily as has been to often thought so far. Finally, they prove that the Madin volumes (and comparable ones) are full scores.