Jean-Baptiste Lully Essay -- essays research papers fc

Giovanni Battista Lulli was born on November 28, 1632. His father, Lorenzo di Maldo, was a miller and his mother, Caterina del Sera, was a millers daughter. Lully was born in Florence, Italy and lived in that location until age 11. While in Italy he studied spring and medicine he played violin and guitar. In March of 1646 he travel to France to tutor Mlle de Montpensier in Italian. There he studied composition and harpsichord. Lully was adequate to hear the Kings grande bande perform, witness balls where the best French dance music was played. When Mlle de Montpensier was exiled from Paris, Lully was released from her service and gained the at cardinaltion of King Louis XIV. In February 1653 he danced in Ballet de la nuit with the King and less than a month by and by was appointed the Kings composituer de la musique instrumentale de Roi. Over the next ten years Lully gained laterality oer all the royal familys coquet music. This is when he began experimenting with performance practices and changing the basic stylistic features of orchestral music. Lullys petits violons brought him international fame. At this point Lully focused his career on ballets. They brought together Lullys two favorite expressions of art dance and music. The dances he dispassionate shaped what is now known as French music. Between 1658 and 1671 Lully wrote thirty ballets. During this ballet frenzy he received his French citizenship and changed his name from Lulli to Lully. He also elevated his fathers status to gentilhomme Florentin. Also in 1661 Lully was appointed the composer of chamber music for the King. In 1664 Lully collaborated with Jean-Baptiste Molire and started composing comdies-ballets. He didnt thing the French language was appropriate for large full treatment but was good for ballets. Perrin, a French composer, introduced opera around this date and Lully thought it was absurd. However, when Perrins Promone succeeded, Lully changed his mind. Perrin ended up in pri son over a money dispute and Lully bought the opera patent from him. This gave him complete control of French operatic performances. Then in 1673 Molire died and the King granted the patent for the Royal Theater to Lylly also. Lullys new operatic hyphen grew out of his popular ballets. He kept the overture, entry music for the dancers, strain and action symphonies, and some of the dances themselv... ...ed. Instrumentalists would only be used in scenes where an instrumentalist would normally be found in life weddings, festivals, etc. Lullys influence on the orchestra cannot be overstressed. He dramatically affected its mood and importance. His orchestra was emulated all over Europe. Many of the characteristics that Lully developed are still in use today. BibliographyAnthony, James R., Lully. The New Groves Dictionary of Music and Musicians. 1980 ed., vol. 14, p. 315-326.Anthony, James R., H. Wiley Hitchcock, Edward Higginbottom, graham flour Sadler, Albert Cohen. French Baroqu e Masters. The New Groves Dictionary of Music and Musicians. W.W. Norton and Company, 1986. p. 1-63Buelow, George J., Music and nine in the deeply Baroque Era. Music and Society in the Late Baroque Era. Englewood Cliffs Prentice-Hall, 1994. p. 1-38Harman, Alec and Anthony Milner. Late Renaissance and Baroque Music. Fairlawn Essential Books, 1957.Heyer, John Hadju. Lully Studies. Cambridge common Press, 2000.Lewis, W. H., The Splendid Century Life in the France of Louis XIV. Waveland Press, 1997Newman, Joyce. Jean-Baptiste de Lully and His Tragdies Lyrique. UMI Research Press, 1979.