Jean-Baptiste Lully


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Lully, Jean-Baptiste

 

(Italian, Giovanni Battista Lulli), Born Nov. 28, 1632, in Florence; died Mar. 22, 1687, in Paris. French composer and the founder of French opera.

The son of an Italian miller, Lully lived in Paris from the age of 14. He studied music under French organists, played the violin in the court orchestra, and composed arias. In 1653, he became court composer. He composed many ballets, collaborating with Moliere in such comédie-ballets as Le Mariage Forcé and Le Bourgeois Gentilhomme. In 1672 he became head of the Paris opera house (Royal Academy of Music) and acquired exclusive rights to produce operas in France. He created the classical lyrical tragedy, a large-scale musical play based on subjects from classical mythology. Among his best operas are Alceste, ou Le Triomphe d’Alcide (1674), Thésée (1675), Atys (1676), and Armide (1686). He also established the form of the French overture.

Publication of the complete works of Lully, edited by H. Prunières, was undertaken in 1930, and by 1939 ten volumes had appeared.

REFERENCES

Asaf’ev, B. V. “Liulli i ego delo.” In the collection De Musica, issue 2. Leningrad, 1926.
Rolland, R. “Zametki o Liulli.” Sobr. soch., vol. 16. Leningrad, 1935
Borrel, E. J.-B. Lully. Paris, 1949.
References in periodicals archive ?
One can get ready access to Lalande's music by titles, first lines, and melodies; the last index borrows (with generous acknowledgement) the system that I used in my Thematic Locator for the Works of Jean-Baptiste Lully (New York: Performers' Editions [Broude Brothers], 1989).
Rosow's edition of Armide (LWV 71 in Herbert Schneider's monumental Chronologisch-thematisches Verzeichnis samtlicher Werke von Jean-Baptiste Lully (LWV), Mainzer Studien zur Musikwissenschaft, 14 [Tutzing: Hans Schneider, 1981]), is the second volume to be published in the new CEuvres completes; the first (ser.
Researchers who need to get behind the modernized text and silent emendations can collate Rosow's score against a facsimile--that published by Broude International Editions (Lully, The Tragedies lyriques in Facsimile, 13 [New York, 2000])--or the digitized version in the Jean-Baptiste Lully Collection at the University of North Texas (http://www.
The three sources just mentioned, as well as Filmer 3, 4, 8, 16, 27, and 33, contaln a significant number of works by Jean-Baptiste Lully, [24] and the proximity of these works in some sources to English ones demonstrably copied in the l670s or 1680s (such as Filmer 7) suggests that the Filmers had early and unusual access to the works of Lully, possibly through direct contact with French musicians.
Griffiths points out in her introduction to the recently published edition of Cephale et Procris by A-R Editions in the series Recent Researches in the Music of the Baroque Era, the failure of the opera may be attributed mainly to weaknesses in its libretto (in a culture that valued the libretto as a literary and poetic art form) and to a generally unsympathetic political atmosphere for opera in France in the years immediately following the death of Jean-Baptiste Lully in 1687.
Now titled "The University of North Texas Jean-Baptiste Lully Collection Website," the project was conceived and designed by Dorothy Keyser, former UNT doctoral student and now faculty member at the University of North Dakota at Grand Forks, as a multimedia thematic catalog of the UNT Music Library's collection of twenty-three first and second editions of theatrical works by Lully.
Schneider's perceptive analyses of individual works by each composer that he discusses require many pages; therefore, in terms of the total number of pages they receive, three of his subjects - Jean-Baptiste Lully, Rameau, and Gluck - ascend to the upper echelon of stageworthy composers: Lully (45), George Frideric Handel (40, but much within them is contextual information), Gluck (311, Giuseppe Verdi (29), Richard Wagner (28), Rameau (27), Mozart (23), Rossini (20), Franz Lehar (191, Albert Lortzing and Jacques Offenbach (17 each), Sergey Prokofiev (131, Heinrich Marschner (121, Alban Berg (111, Arnold Schoenberg (101, Vincenzo Bellini, Johann Strauss Jr.
Schmidt's catalogue complements two other projects: Herbert Schneider's Chronologisch-thematisches Verzeichnis samtlicher Werke von Jean-Baptiste Lully (LWV) (Tutzing: Schneider, 1981), and the proposed new edition of Lully's complete works.
Lyricism is always Campra's strength, and there is some superb music in Le Carnaval, most of it in the monologue arias, closer to Jean-Philippe Rameau than to Jean-Baptiste Lully in their expanded, varied forms, vivid harmonic palette, and elegant melodic flow.

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