Born in Saintes around 1734, Grénon was choirmaster at Le Puy-en-Velay cathedral, in Clermont-Ferrand and then in his hometown until his death in 1769. He was unknown until the major discovery of the music collection at Le Puy-en-Velay cathedral in 1994. Following the publication of his Masses in 2008 in the same collection, this critical edition presents twelve motets for one to six soloists, four- or five-part choir and continuo, with obligatory instrumental bass part(s) (bassoon, cello and/or serpent). These motets, of particular interest to choral groups, were all composed to accompany liturgical services. The writing of the instrumental bass parts, which makes these scores so distinctive, appears to be a skilful compromise between the "symphony" and the simple basso continuo; it responds in a very balanced way to the richness of the vocal writing, in an alternation of recitatives, vocal ensembles and choruses. A great spirituality emanates from these works, in perfect harmony with the biblical texts (psalms, canticles) set to music. These pieces confirm the quality of the work of a provincial master attentive to the major stylistic developments of his contemporaries, such as Rameau, Mondonville and the young Gossec. With a bilingual (French-English) introduction, the book offers a precise description of the musical sources – which considerably enriches current knowledge of the circulation of music in the 18th century – and a meticulous musical presentation of the corpus, in relation to the liturgical customs of the cathedrals where Louis Grénon practised. In this respect, the motet Memento Domine, for the Vespers of Christmas, the Feast of the Circumcision and Epiphany, the only piece in the volume with alternating plainsong, is restored to its liturgical integrity by Jean Yves Hameline, a specialist in 17th- and 18th-century liturgical music. Each motet is available for performance as a separate booklet. Thomas Vernet holds a doctorate in musicology. His work focuses on the reception and practice of music in aristocratic circles in France in the 17th and 18th centuries, and on the history of music libraries. He is currently head of the Early Music Department at the CRR de Paris, as well as at the Pôle d'enseignement artistique Paris-Boulogne-Billancourt, and a lecturer at the Université de Versailles Saint-Quentin-en-Yvelines. Thomas Leconte is researcher and editorial manager of the critical éditions at the Centre de musique baroque de Versailles. A specialist in early 17th-century France, he is also interested in religious music at court and in the provinces of France in the 17th and 18th centuries, from both a historical and interpretative standpoint.