Born in 1660, André Campra studied music with Guillaume Poitevin, maître de chapelle at the Saint-Sauveur choir school at the cathedral of Aix-en-Provence, where he trained several renowned musicians (including Jean Gilles). After leaving Aix-en-Provence, Campra, whose life seems to have been eventful, obtained several appointments in the south of France. In 1694, he moved to Paris and was appointed Master of Notre-Dame Cathedral. He resigned in 1700 to devote himself freely to an equally exceptional operatic career, which led him to become director of the Académie royale de musique in 1730. In 1723, Philippe d’Orléans entrusted him with one of the quarters of the Chapelle royale, replacing Lalande. Campra composed or reworked most of the great motets that have come down to us. He died in 1744.

The autograph manuscript of this grand motet belongs to the collection of the Conservatoire Library (Paris). It mentions "1724," probably the date of composition. At that time, Campra had taken over a quarter of Michel-Richard de Lalande’s duties as music director of the Chapelle royale in Versailles a year before. This motet was intended to replace the Marian antiphon by his predecessor, from which it draws heavily, particularly the verse "Ora pro nobis Deum, alleluia." It is characterised by a strong harmonic language that uses, for example, numerous suspensions leading to unusual superimpositions. Its orchestration retains Campra's distinctive character, making this very short Versailles motet a particularly interesting work for performance.

The motet features 3 solo singers (haute-contre, taille and basse-taille), a 5-part choir "in the French style" (divided dessus, hautes-contre, tailles, basses-tailles and basses), and a 4-part string orchestra "in the French style" (dessus, hautes-contre, tailles and basses de violon) with woodwinds and basso continuo.