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.


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 ?
Starting in the 1650s, surprisingly intimate widescreen extravaganza charts the evolution of the relationship between Louis and Italian composer Jean-Baptiste Lully, as the composer's professional ambition and wounded pride eventually pit him against his friend, the playwright Moliere.
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).
Based on the core Jean-Baptiste Lully Collection of twenty-five operas and ballets that has been on the Web since 1998 (http://www.
A tiny quibble: Jean-Baptiste Lully did not form the Petits violons; he took over the direction of that group.
Given this artistic credo, it is not surprising that, in 1777, Gluck chose to tackle Philippe Quinault's Armide, a libretto that had been set by the venerable Jean-Baptiste Lully nearly 100 years earlier.
Jean-Baptiste Lully (1632-1687) was one of the most influential composers in the history of Western music.
In one salient example, a scene was eliminated from Filippo Livigni's Viaggiatori felici which, in its Venice version, made fun of French recitative, ridiculing Jean-Baptiste Lully, and the famous French tenor, Joseph Legros.
Pruiksma examines the context of the chaconne in the cultural life of Europe and particularly the theatrical chaconnes of Jean-Baptiste Lully.
6) A place of honor is given in these listings to Jean-Baptiste Lully, whose works open the section devoted to Opera, and who is represented by more listings than is any other composer in the catalog (26 items, 5 in duplicate); Andre Campra is a close second (25 items, 4 in duplicate).
In these surroundings, the inclusion of Jean-Baptiste Lully and Kurt Weill (the latter, of course, also German-born), whose editorial projects are based in France and the United States, respectively, seems tokenism.
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.
In the chapter "Producers' Opera," Evans offers an interesting perspective on the power of stage directors by exploring their role in the eras of Jean-Baptiste Lully and Christoph Willibald Gluck.

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