Italian by birth, Lully made his career in France, where he rose from the position of a page to Mlle de Montpensier to that of Composer of the King's Music, Master of Music to the Royal Family and to a position of complete control of all musical performances that involved singing throughout. He collaborated with Molière and with Corneille and, more particularly, with the poet Quinault, creating a specifically French form of opera in various genres, comédies-ballets and tragédies lyriques, in both of which there was an element of dance, a French royal preoccupation. He was the most important French composer of his period, influential in his development of the so-called French Overture, with its introductory slow dotted rhythms and following fugal section and his insistence on orchestral discipline, particularly in the matter of string bowing.
Stage Music
The tragédies lyriques of Lully exercised a strong influence over French opera in his life-time and in the years that followed his death in 1687. These works are usually treatments of subjects drawn from classical mythology. With changes of fashion, they are rarely heard nowadays in the theatre, although overtures and dances from the operas may appear in instrumental programmes. The comédies-ballets in the creation of which Molière was a junior partner are now generally performed without the music and ballet that was an essential element in the original work, although the music for Le bourgeois gentilhomme may be better remembered.
Church Music Lully was also influential in the choice of music and musicians for the royal chapel. His compositions for the church include a number of motets, some six Grands motets and 14 Petits motets. An example of the first is the fine setting of the Dies irae from the Requiem Mass, for double choir, of the Te Deum, and the Miserere, the last a favourite of the king. Examples of the second are his settings of the Vespers Psalm Dixit Dominus, the Anima Christi and the Regina coeli. Instrumental Music Instrumental works by Lully include various sets of dances from his stage works and eighteen Trios pour le coucher du Roi. more.... Discography Art & Music: Rembrandt - Music of His TimeATTAINGNANT / PLAYFORD / LULLY / MOZART: Court Dance in the 16th to 18th CenturiesBach: Partita No. 3 (arr. for cimbalom) / LULLY: Air tendre et Courante / BULL: AllemandeCARUSO, Enrico: Complete Recordings, Vol. 12 (1902-1920)Chamber Music - BACH, J.S. / FRANCOEUR, F. / LOCATELLI, P. / LULLY, J. (Linsenmeyer)Chamber Music (Baroque) - RAEHS, M. / ROMAN, J.H. / AGRELL, J.J. / LULLY, J.-B. / RUFFO, F. (Nordic Baroque Quartet)CIMAROSA, D.: Oboe Concerto / TARTINI, G.: Concerto No. 58 / LULLY, J.-B.: Ballet Suite (Scarlatti Orchestra, Caracciolo)COSSET: Messe Super Flumina BabylonisImperial FanfaresLEHRNDORFER, Franz: Concert (The)LULLY, J.: Armide (Opera Lafayette, 2007)LULLY: Ballet Music for the Sun KingLULLY: Grand Motets, Vol. 1LULLY: Grand Motets, Vol. 2LULLY: Grand Motets, Vol. 3LULLY: Thesee (Boston Early Music Festival)Miserere: Classical Music for Reflection and MeditationMUSIQUE POUR MAZARIN! - Qui a le coeur a tout (Le Jardin Secret) Page : 1 2
Lully was also influential in the choice of music and musicians for the royal chapel. His compositions for the church include a number of motets, some six Grands motets and 14 Petits motets. An example of the first is the fine setting of the Dies irae from the Requiem Mass, for double choir, of the Te Deum, and the Miserere, the last a favourite of the king. Examples of the second are his settings of the Vespers Psalm Dixit Dominus, the Anima Christi and the Regina coeli. Instrumental Music Instrumental works by Lully include various sets of dances from his stage works and eighteen Trios pour le coucher du Roi.
