Utwory na płycie:

• Fierement et detache- Gracieusement- Un peu plus gay- Viste
• Gracieusement sans lenteur
• Vivement
• Trio
• Air
• Vivement- Doucement- Vivement
• Prélude
• Air grave
• Trio
• Petit air
• Passacaille ou Grande pièce
• 1er air
• Rondeau
• Loure
• 1er Menuet & 2eme Menuet alternativement
• Grand Piece en D la re. Passacaille
• 1er Air G re sol
• 2eme Air leger
• Air gay
• Sarabande en rondeau
• Un peu lent- Viste- Doucement
• Gracieusement- Gayment- Vivement
• Gracieusement- 2eme Air. Mineur
• Air
• Gigue.Gracieusement
• Quatour. Doucement- Prelude
• Air vif

1er Caprice, Caprice de Villers-Cotterets:
1 Fierement et detaché - Gracieusement - Un peu plus gay - Viste
2 Gracieusement sans lenteur
3 Vivement
4 Trio
5 Air
6 Vivement - Doucement - Vivement
1ere Suite:
7 Prélude
8 Air grave
9 Trio
10 Petit Air
11 Passacaille ou Grande Piéce
3eme Suite:
12 1er Air
13 Rondeau
14 Loure
15 1er Menuet & 2eme Menuet alternativement
16 Grand Piece in D la re. Passacaille
5eme Suite:
17 1er Air G re sol
18 2eme Air leger
19 Air gay
20 Sarabande en Rondeau Grande piece en G re sol
"Fantaisie ou Caprice que le Roy demandoit souvent":
21 Un peu lent - Viste - Doucement
22 Gracieusement - Gayment - Vivement
3eme Caprice:
23 Gracieusement - 2eme Air. Mineur
24 Air
25 Gigue. Gracieusement
26 Quatuor. Doucement - Prélude
27 Air vif

Immediately after starting in his post as Surintendant de la Musique de la Chambre in 1689, Delalande began composing instrumental movements. These suites were chiefly intended for the king's soupers which, as the sociologist Peter Burke has pointed out, resembled a ritual: "Louis might eat more formally (the grand couvert) or less formally (the petit couvert), but even the least formal occasions, tres petit couvert, included three courses and many dishes. These meals were performances before an audience. It was an honour to be allowed to watch the king eat, a greater honour to be spoken to by the king during the meal, a supreme honour to be invited to serve him his food or to eat with him." In this context, instrumental music played an important role, its magnificence reflecting the regent's powerful self-image. Since new works were continually being demanded, this "table music" practice resulted, over the course of the years, in an impressive body of works. Delalande had a first volume of these works assembled in 1703, containing 160 compositions which are presented as ten suites. The title of the volume uses the term Les Symphonies de M. de La Lande, referring to the entirety of his orchestral works. Further volumes appeared in the following years until after the composer's death; in all, there are around three hundred movements in different sequences. They are mostly short compositions, either taking after traditional dance models or presented as character pieces. These collections of Delalande's works survive as partitions réduites, i.e. in incomplete versions. Most pieces are only noted with two parts, the upper part ("dessus") and bass; in the trios, a second upper part ("deuxieme dessus") is added; very rarely does one find four-part pieces ("quatuors"). However, it may be assumed that most of this repertoire would have been played by five-part ensembles, according to the ideal of French orchestral writing at the time. Jörg Jacob has been involved with the Elbipolis Barockorchester Hamburg from its beginnings, both as performer and programme researcher. For this recording of the Symphonies pour les Soupers du Roy by Michel-Richard Delalande, Jacobi has produced a complete reconstruction of the featured works. On this new release, the Hamburg ensemble perform these astonishing pieces for the first time in their originally intended five-part textures.