Let us imagine a typical summer evening in Versailles, in 1686: His Majesty takes a long walk in his gardens; he always goes to bed at eight o’clock and dines in his bed at ten; he usually calls de Visée at nine to play [french theorbo] and the guitar (from the journal of Philippe de Courcillon, Marquis de Dangeau). Robert de Visée begins playing in a tender and sweet A-minor, continuing in a happy C-major, then serious and magnificent G-minor, devine D-minor, pastoral A-major, amorous E-minor, solitary and melancholic B-minor... (according to the character of keys by Marc-Antoine Charpentier, Règles de composition, 1682). His Royal Highness enjoys the delights of majestic allemande, sophisticated courante, gracious Sarabande, quick gigue, trilling gavotte, elegant Menuet, seducing Passacaille, exotic Chaconne. Is it possible that this progression represents one evening, one hour in the presence of magnificent Robert de Visée?
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