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The second part, the longest in the treatise, is told in the form of a dialogue between "Sultan Violin, an abortion and a pygmy," and Lady Viol, in which these allegorical characters debate the relative merits of the viol and the violin in the Jardin des Tuilieres prior to a Concert Spirituel in which the violinists Giovanni Battista Somis (1686–1763) and Francesco Geminiani (1687–1762) are to play in the Italian style at a highly publicized concert.
In it is to be found an annual run-down of the troupes of the Académie royale de musique, of the Comédie-Française, of the Comédie-Italienne, of the Opéra-Comique, of the Foires Saint-Germain et Saint-Laurent and of the Concert Spirituel.
Born Pierre Grichon in Lasseube, he studied in Toulouse (voice, harpsichord, guitar, violin, composition) and made his stage debut in Paris as a singer at the Concert Spirituel in 1733.
He studied at Lille before moving to Paris, where he worked singing basse-taille in the chorus of the Opéra and the Concert Spirituel between 1767 and 1781, except for a brief period (1771—1773) he spent in Moulins.
Works that were performed at the Concert Spirituel and described as hiérodrames include Le sacrifice d'Abraham (1780, words by Voltaire, music by Cambini); Samson (1783, words by Voltaire, music by Valentin), and Absalon (1786, words by Moline, music by Henri Montan Berton).
1751: Venite exultemus, motet (first performance 18 December 1751, Concert spirituel)
In 1726 he joined the Duke of Carignan and took part in the newly formed Concert Spirituel for the first time.