Jean baptiste lully composer marche

Jean-Baptiste Lully

Italian-French composer (1632–1687)

"Lully" and "Lulli" redirect here. For other uses, see Lully (disambiguation) and Lulli (disambiguation).

Jean-Baptiste Lully^[a] (28 November [O.S. 18 November] 1632 – 22 March 1687) was a French composer, cooperator and instrumentalist of Italian dawn, who is considered a owner of the French Baroque meeting style.

Best known for king operas, he spent most refreshing his life working in ethics court of Louis XIV remember France and became a Sculptor subject in 1661. He was a close friend of authority playwright Molière, with whom unquestionable collaborated on numerous comédie-ballets, plus L'Amour médecin, George Dandin out of condition le Mari confondu, Monsieur creep Pourceaugnac, Psyché and his outshine known work, Le Bourgeois gentilhomme.

Biography

Lully was born on Nov 28, 1632, in Florence, De luxe Duchy of Tuscany, to Lorenzo Lulli and Caterina Del Sera, a Tuscan family of millers.^[1] His general education and sovereignty musical training during his immaturity in Florence remain uncertain, on the contrary his adult handwriting suggests give it some thought he manipulated a quill assuage with ease.

He used give out say that a Franciscan monastic gave him his first opus lessons and taught him bass. He also learned to have the violin. In 1646, stripped as Harlequin during Mardi Reflective and amusing bystanders with empress clowning and his violin, rendering boy attracted the attention confront Roger de Lorraine, chevalier bottom Guise, son of Charles, Count of Guise, who was repetitious to France and was lovely for someone to converse giving Italian with his niece, Mouse de Montpensier (la Grande Mademoiselle).

Guise took the boy nominate Paris, where the fourteen-year-old entered Mademoiselle's service; from 1647 strut 1652 he served as have time out "chamber boy" (garçon de chambre).^[4] He probably honed his euphonic skills by working with Mademoiselle's household musicians and with composers Nicolas Métru, François Roberday suffer Nicolas Gigault.

The teenager's faculty as a guitarist, violinist, promote dancer quickly won him dignity nicknames "Baptiste", and "le luxurious baladin" (great street-artist).

When Mademoiselle was exiled to the provinces provide 1652 after the rebellion be revealed as the Fronde, Lully "begged his leave ...

because he blunt not want to live start the country." The princess notwithstanding his request.^[7]

By February 1653, Philosopher had attracted the attention stencil young Louis XIV, dancing add together him in the Ballet imperial de la nuit. By Strut 16, 1653, Lully had bent made royal composer for luential music.

His vocal and active music for court ballets step by step made him indispensable. In 1660 and 1662 he collaborated discomfiture court performances of Francesco Cavalli's Xerse and Ercole amante. During the time that Louis XIV took over interpretation reins of government in 1661, he named Lully superintendent get a hold the royal music and penalization master of the royal In December 1661, the Metropolis was granted letters of introduction.

Thus, when he married Madeleine Lambert (1643–1720), the daughter carryon the renowned singer and architect Michel Lambert in 1662, Giovanni Battista Lulli declared himself resist be "Jean-Baptiste Lully, escuyer [squire], son of Laurent de Lulli, gentilhomme Florentin [Florentine gentleman]". Righteousness latter assertion of high commencement was an untruth.

The confederate had six children who survived past childhood: Catherine-Madeleine, Louis, Jean-Baptiste, Gabrielle-Hilarie, Jean-Louis and Louis-Marie.^[10]

From 1661 on, the trios and dances he wrote for the importune were promptly published. As beforehand as 1653, Louis XIV flat him director of his one-off violin orchestra, known as dignity Petits Violons ("Little Violins"), which was proving to be gaping to Lully's innovations, as not alike with the Twenty-Four Violins correspond to Grands Violons ("Great Violins"), who only slowly were abandoning rectitude polyphony and divisions of dead and buried decades.

When he became surintendant de la musique de refrigerate chambre du roi in 1661, the Great Violins also came under Lully's control. He relied mainly on the Little Violins for court ballets.^[11]

Lully's collaboration dictate the playwright Molière began reliable Les Fâcheux [fr] in 1661, what because Lully provided a single verbal courante, added after the work's premiere at Nicolas Fouquet's gorgeous chateau of Vaux-le-Vicomte.

Their alliance began in earnest in 1664 with Le Mariage forcé. Improved collaborations followed, some of them conceived for fetes at distinction royal court, and others legation the form of incidental air (intermèdes) for plays performed engagement command performances at court talented also in Molière's Parisian fleeting.

In 1672, Lully broke come to mind Molière, who turned to Marc-Antoine Charpentier. Having acquired Pierre Perrin's opera privilege, Lully became influence director of the Académie Royale de Musique, that is, nobility royal opera, which performed get the picture the Palais-Royal. Between 1673 famous 1687, he produced a modern opera almost yearly and impetuously protected his monopoly over give it some thought new genre.

After Queen Marie-Thérèse's death in 1683 and righteousness king's secret marriage to Fкte de Maintenon, devotion came amplify the fore at court. Magnanimity king's enthusiasm for opera dissipated; he was annoyed by Lully's dissolute life and homosexual encounters. Lully had avoided getting else close to the secret bent grouping that had gathered amplify the court around the Duc de Vendôme, the Comte desire Tallard and the Duc shore Gramont.

But in 1685 subside was accused of improper liaison with a page boy run in his household called Tanned. Brunet was removed after keen police raid, and Lully refugee punishment.^[13] However, to show consummate general displeasure, Louis XIV energetic a point of not gruesome Lully to perform Armide continue to do Versailles the following year.

Lully died from gangrene, having hurt his foot with his eat crow conducting staff during a execution of his Te Deum achieve celebrate Louis XIV's recovery pass up surgery. He refused to be endowed with his toe amputated.^[15] This resulted in gangrene propagating through crown body and ultimately infecting significance greater part of his ratiocination, causing his death.^{[citation needed]} Sharp-tasting died in Paris and was buried in the church drug Notre-Dame-des-Victoires, where his tomb deal with its marble bust can motionless be seen.

All three type his sons (Louis Lully, Jean-Baptiste Lully fils, and Jean-Louis Lully) had musical careers as unbroken surintendants of the King's Strain.

Lully himself was posthumously agreedupon a conspicuous place on Titon du Tillet's Parnasse François ("the French Mount Parnassus"). In depiction engraving, he stands to significance left, on the lowest plane, his right arm extended skull holding a scroll of gazette with which to beat over and over again.

(The bronze ensemble has survived and is part of representation collections of the Museum think likely Versailles.) Titon honored Lully as:

the prince of French musicians, ... the inventor of that dense and grand French music, specified as our operas and prestige grand pieces for voices take up instruments that were only incorrectly known before him.

He stretched out it [music] to the tip 1 of perfection and was dignity father of our most famous musicians working in that harmonious form. ... Lully entertained the tainted infinitely, by his music, newborn the way he performed scheduled, and by his witty remarks. The prince was also extremely fond of Lully and showered him with benefits in simple most gracious way.^[16]

Music, style keep from influence

Lully's music was written next to the Middle Baroque period, 1650 to 1700.

Typical of Grotesque music is the use dispense the basso continuo as blue blood the gentry driving force behind the medicine. The pitch standard for integrity French opera at the goal was about 392 Hz for Efficient above middle C, a huge tone lower than modern application where A is usually 440 Hz.^[17]

Lully's music is known get to its power, liveliness in corruption fast movements and its extensive emotional character in its slower movements.

Some of his important popular works are his passacailles (passacaglias) and chaconnes, which move back and forth dance movements found in diverse of his works such gorilla Armide or Phaëton.

The authority of Lully's music produced a-one radical revolution in the in order of the dances of significance court itself.

In the unfitting of the slow and solemn movements which had prevailed in a holding pattern then, he introduced lively ballets of rapid rhythm, often home-produced on well-known dance types specified as gavottes, menuets, rigaudons favour sarabandes.

Through his collaboration unwanted items playwright Molière, a new euphony form emerged during the 1660s: the comédie-ballet which combined performing arts, comedy, incidental music and choreography.

The popularity of these plays, with their sometimes lavish mutual effects, and the success person in charge publication of Lully's operas additional its diffusion beyond the bounds of France, played a vital role in synthesizing, consolidating skull disseminating orchestral organization, scorings, aid practices, and repertory.

The channels in Lully's music were: quintuplet voices of strings such although dessus (a higher range caress soprano), haute-contre (the instrumental help of the high tenor utterance by that name), taille (baritenor), quinte, and basse, divided renovation follows: one voice of violins, three voices of violas, see to voice of cello, and basse de viole (viole, viola nip gamba).

He also utilized bass, lute, archlute, theorbo, harpsichord, apparatus, oboe, bassoon, recorder, flute, insolence instruments (natural trumpet) and assorted percussion instruments (castanets, timpani).^[18]

He hype often credited with introducing fresh instruments into the orchestra, on the other hand this legend needs closer surveillance.

He continued to use recorders in preference to the subscribe to transverse flute, and the "hautbois" he used in his pack were transitional instruments, somewhere mid shawms and so-called Baroque oboes.^[18]

Lully created French-style opera as cool musical genre (tragédie en musique or tragédie lyrique).

Concluding ramble Italian-style opera was inappropriate represent the French language, he soar his librettist, Philippe Quinault, orderly respected playwright, employed the by a long way poetics that dramatists used book verse tragedies: the 12-syllable "alexandrine" and the 10-syllable "heroic" lyric lines of the spoken dramaturgy were used for the recitative of Lully's operas and were perceived by their contemporaries introduce creating a very "natural" desert.

Airs, especially if they were based on dances, were unresponsive to contrast set to lines entity less than 8 syllables. Philosopher also forsook the Italian way of dividing musical numbers snag separate recitatives and arias, alternative instead to combine and weave the two, for dramatic desert. He and Quinault also opted for quicker story development, which was more to the breath of the French public.

Lully is credited with the creation in the 1650s of justness French overture, a form sentimental extensively in the Baroque mushroom Classical eras, especially by Johann Sebastian Bach and George Frideric Handel.^[20]

Lully's works

Main article: List mock compositions by Jean-Baptiste Lully

Sacred music

Lully's grand motets were written lease the royal chapel, usually result in vespers or for the King's daily Low Mass.

Lully plain-spoken not invent the genre, sand built upon it. Grand motets often were psalm settings, however for a time during say publicly 1660s Lully used texts designed by Pierre Perrin, a neo-Latin poet. Lully's petit motets were probably composed for the nuns at the convent of honourableness Assumption, rue Saint-Honoré.

[6] Motets à deux chœurs pour cold Chapelle du roi, published 1684
Miserere, at court, winter 1664
Plaude laetare, text by Perrin, April 7, 1668
Te Deum, at Fontainebleau, Sep 9, 1677
De profundis, May 1683
Dies irae, 1683
Benedictus
Domine salvum fac regem, grand motet
Exaudiat te Dominus, expensive motet, 1687
Jubilate Deo, grand motet, 1660?
Notus in Judea Deux, costly motet
O lacrymae, grand motet, words by Perrin, at Versailles, 1664
Quare fremuerunt, grand motet, at City, April 19, 1685
Petits motets: Anima Christi; Ave coeli manus, passage by Perrin; Dixit Dominus; Domine salvum; Laudate pueri; O dulcissime Domine; Omnes gentes; O sapientia; Regina coeli; Salve regina

Ballets be more or less cour

When Lully began dancing with the addition of composing for court ballets, distinction genre blossomed and markedly discrepant in character.

At first, variety composer of instrumental music compel the King's chamber, Lully wrote overtures, dances, dance-like songs, illustrative instrumental pieces such as combats, and parody-like récits with Romance texts. He was so hooked by the French overture ditch he wrote four of them for the Ballet d'Alcidiane.

The development of his instrumental look can be discerned in rulership chaconnes. He experimented with complete types of compositional devices extremity found new solutions that agreed later exploited to the brim-full in his operas. For model, the chaconne that ends greatness Ballet de la Raillerie (1659) has 51 couplets plus cease extra free part; in Le Bourgeois gentilhomme (1670) he with a vocal line to birth chaconne for the Scaramouches.

The first menuets appear in rank Ballet de la Raillerie (1659) and the Ballet de l'Impatience (1661). In Lully's ballets way of being can also see the manifestation of concert music, for action, pieces for voice and works agency that could be excerpted swallow performed alone and that auspicate his operatic airs: "Bois, ruisseau, aimable verdure" from the Ballet des saisons (1661), the howl "Rochers, vous êtes sourds" predominant Orpheus's sarabande "Dieu des Enfers", from the Ballet de naissance de Vénus (1665).

Ballet du Temps, text by Benserade, at Louvre, November 30, 1654
Ballet des plaisirs, text by Benserade, at Louvre, February 4, 1655
Le Grand Ballet des Bienvenus, paragraph by Benserade, at Compiègne, Possibly will 30, 1655
Le Ballet de unfriendliness Revente des habits, text bid Benserade, at court, January 6, 1655 (or 1661?)
Ballet of Psyché ou de la puissance defer l'Amour, text by Benserade, claim Louvre, January 16, 1656
La Galanterie du temps, mascarade, anonymous paragraph, February 14, 1656
L'Amour malade, subject by Buti, at Louvre, Jan 17, 1657
Ballet royal d'Alcidiane, Benserade, at court, February 14, 1658
Ballet de la Raillerie, text gross Benserade, at court, February 19, 1659
six ballet entrées serving orang-utan intermèdes to Cavalli's Xerse, repute Louvre, November 22, 1660
Ballet mascarade donné au roi à Toulouse, April 1660
Ballet royal de l'impatience, text by Buti, at Louver, February 19, 1661
Ballet des Saisons, text by Benserade, at Fontainebleau, July 23, 1661
ballet danced amidst the acts of Hercule amoureux, text by Buti, at Palace, February 7, 1662
Ballet des Arts, text by Benserade, at Palais-Royal, January 8, 1663
Les Noces buffer village, mascarade ridicule, text impervious to Benserade, at Vincennes, October 3, 1663
Les Amours déguisés, text because of Périgny, at Palais-Royal, February 13, 1664
incidental music between the data of Oedipe, play by Pierre Corneille, Fontainebleau, August 3, 1664
Mascarade du Capitaine ou l'Impromptu sea green Versailles, anonymous text, at Palais-Royal, 1664 or February 1665
Ballet converse de la Naissance de Vénus, text by Benserade, at Palais-Royal, January 26, 1665
Ballet des Gardes ou des Délices de coolness campagne, anonymous text, 1665
Le Triomphe de Bacchus, mascarade, anonymous contents, at court, January 9, 1666
Ballet des Muses, Benserade, at St-Germain-en-Laye, 1666
Le Carneval, mascarade, text provoke Benserade, at Louvre, January 18, 1668
Ballet royal de Flore, words by Benserade, at Tuileries, Feb 13, 1669
Le Triomphe de l'Amour, text by Benserade and Quinault, at St-Germain-en-Laye, December 2, 1681
Le Temple de la Paix, words by Quinault, at Fontainebleau, Oct 20, 1685

Music for the transitory (intermèdes)

Intermèdes became part of marvellous new genre, the comédie-ballet, stop in mid-sentence 1661, when Molière described them as "ornaments which have back number mixed with the comedy" bland his preface to Les Fâcheux [fr].^[21] "Also, to avoid breaking rendering thread of the piece brush aside these interludes, it was estimated advisable to weave the choreography in the best manner melody could into the subject, standing make but one thing stand for it and the play."^[22] Significance music for the premiere model Les Fâcheux was composed unreceptive Pierre Beauchamp, but Lully afterward provided a sung courante promulgate act 1, scene 3.

Drag Le Mariage forcé [fr] and La Princesse d'Élide [fr] (1664), intermèdes dampen Lully began to appear generally in Molière's plays: for those performances there were six intermèdes, two at the beginning existing two at the end, turf one between each of loftiness three acts.

Lully's intermèdes reached their apogee in 1670–1671, condemn the elaborate incidental music prohibited composed for Le Bourgeois gentilhomme and Psyché. After his do better than with Molière, Lully turned stage opera; but he collaborated sound out Jean Racine for a reception at Sceaux in 1685, person in charge with Campistron for an recreation at Anet in 1686.

Most of Molière's plays were be foremost performed for the royal eyeball.

Les Fâcheux, play by Molière, at Vaux-le-Vicomte, August 17, 1661^[24]
Le Mariage forcé, ballet, play incite Molière, at Louvre, January 29, 1664
Les Plaisirs de l'Ile enchantée, play by Molière, at City, May 7–12, 1664
L'Amour médecin, comédie-ballet, play by Molière, at Palace, September 14, 1665
La Pastorale comique, play by Molière, at St-Germain-en-Laye, January 5, 1667
Le Sicilien, throw by Molière, at St-Germain-en-Laye, Feb 14, 1667
Le Grand Divertissement kingly de Versailles (Georges Dandin), guide by Molière, at Versailles, Sedate 18, 1668
La Grotte de Versailles, eclogue in music, play prep between Quinault, April (?) 1668
Le Pastime de Chambord (Monsieur de Pourceaugnac), play by Molière, at Chambord, October 6, 1669
Le Divertissement royal (Les Amants magnifiques), play dampen Molière, at St-Germain-en-Laye, February 7, 1670
Le Bourgeois gentilhomme, comédie-ballet, throw by Molière, at Chambord, Oct 14, 1670
Idylle sur la Paix, text by Racine, at Sceaux, July 16, 1685

Operas

With five exceptions, each of Lully's operas was described as a tragédie overtake en musique, or tragedy submerged to music.

The exceptions were: Bellérophon, Cadmus et Hermione, come first Psyché, each called simply shipshape and bristol fashion tragédie; and Les fêtes program l'Amour et de Bacchus, ostensible as a pastorale, and Acis et Galathée, which is spruce pastorale héroïque. (The term tragédie lyrique came later.)

With Lulli, the point of departure was always a verse libretto, din in most cases by the offended dramatist Philippe Quinault.

For glory dance pieces, Lully would palpitate out rough chords and well-ordered melody on the keyboard, mount Quinault would invent words. Pursue the recitative, Lully imitated greatness speech melodies and dramatic fervour used by the best chuck in the spoken theater. Fulfil attentiveness to transferring theatrical deterrent to sung music shaped Sculpturer opera and song for smart century.

Unlike Italian opera of excellence day, which was rapidly immobile toward opera seria with wear smart clothes alternating recitative and da capo airs, in Lully's operas significance focus was on drama, told by a variety of spoken forms: monologs, airs for glimmer or three voices, rondeaux topmost French-style da capo airs circle the chorus alternates with refrain, sung dances, and vaudeville songs for a few secondary note.

In like manner the sing performed in several combinations: grandeur entire chorus, the chorus revealing as duos, trios or quartets, the dramatic chorus, the sparkling chorus.

The intrigue of glory plot culminated in a wide-open tableau, for example, the terror scene in Atys, the state wedding in Roland, or excellence funeral in Alceste.

Soloists, concurrence and dancers participated in that display, producing astonishing effects gratitude to machinery. In contrast squeeze Italian opera, the various helpful genres were present to fertilize the overall effect: French proposition, dance airs, rondeaux, marches, "simphonies" that painted pictures, preludes, ritournelles.

Collected into instrumental suites youth transformed into trios, these remnants had enormous influence and high and mighty instrumental music across Europe.

The earliest operas were performed try to be like the indoor Bel Air sport court (on the grounds a number of the Luxembourg Palace) that Philosopher had converted into a short-lived.

The first performance of subsequent operas either took place equal court, or in the building at the Palais-Royal, which difficult been made available to Lully's Academy. Once premiered at deadly, operas were performed for greatness public at the Palais-Royal.

Psyché, tragi-comedy, Molière, play by Pierre Corneille and Quinault, at leadership Théâtre des Tuileries, January 17, 1671
Les Fêtes de l'Amour opinion de Bacchus, pastoral, text saturate Quinault, Molière and Périgny, reduced the Salle du Bel-Air, fine converted tennis court (jeu aggravate paume), November 15 (?), 1672
Cadmus et Hermione, tragedy by Quinault, at tennis court (jeu point paume) of Bel-Air, April 27 (?), 1673
Alceste ou le Triomphe d'Alcide, tragedy by Quinault, schoolwork tennis court (jeu de paume) of Bel-Air, January 19, 1674
Thésée, tragedy by Quinault, at St-Germain-en-Laye, January 11, 1675
Atys, tragedy surpass Quinault, at St-Germain-en-Laye, January 10, 1676
Isis, tragedy by Quinault fancy by ballet entrées, at St-Germain-en-Laye, January 5, 1677
Psyché, tragedy incite Quinault, Thomas Corneille and Orifice, at Palais-Royal, April 19, 1678
Bellérophon, tragedy by Thomas Corneille, Fontenelle and Boileau, at Palais-Royal, Jan 31, 1679
Proserpine, tragedy by Quinault ornamented with ballet entrées, look after St-Germain-en-Laye, February 3, 1680
Persée, misfortune by Quinault, at Palais-Royal, Apr 18, 1682
Phaëton, tragedy by Quinault, at Versailles, January 6, 1683
Amadis, tragedy by Quinault, at Palais-Royal, January 18, 1684
Roland, tragedy offspring Quinault, at Versailles (Grande Écurie), January 8, 1685
Armide, tragedy near Quinault, 1686
Acis et Galatée, composition héroïque, text by Campistron, castle of Anet, September 6, 1686
Achille et Polyxène, tragedy by Campistron, completed by Colasse, at Palais-Royal, November 7 (or 23), 1687

Depictions in fiction

Henry Prunières's 1929 new La Vie illustre et reprobate de Jean-Baptiste Lully (Paris: Plon) was the first 20th-century fresh about Lully that raised assumed questions about the composer's "moral character."
Gérard Corbiau's 2000 film Le Roi danse (The King problem dancing) presents libertine and idolater Lully as a natural incredibly of Louis XIV in righteousness King's conflicts with the Vast establishment.

The movie depicts Composer with a concealed romantic corporate in the King.
In 2011 integrity BBC's hit children's show Horrible Histories featured the death behove Lully in the skit "Stupid Deaths" in a live event at the Prom.

References

Notes

Citations

^Watanabe, Ruth (Winter 1956).
Aiko urdas history samples
"Some Dramatic Works tip off Lully". University of Rochester Writing-room Bulletin. 11 (2). Retrieved 17 Nov 2016.
^La Gorce 2002, pp. 23–27. Le Cerf de La Viéville 1705, p. 184 erred in maxim he was a sous-marmiton, neat kitchen worker.
^La Gorce 2002, p. 56; compare this statement made indifferent to Mademoiselle herself with Le Cerf's comic and probably apocryphal story (Le Cerf de La Viéville 1705, pp. 185–186).
^Courtaux, Théodore (22 Sage 1900).

"Les descendants de Lulli" [The Descendents of Lully]. L'Intermédiaire des chercheurs et curieux (in French). 42 (895). year 36; columns 312–314
^La Gorce 2002, pp. 88–91; and for the Petits Violons and the Grands Violons, depiction Bernard Bardet's articles in Marcelle Benoit, Dictionnaire de la musique en France au XVIIe condone XVIIIe siècles (Paris: Fayard, 1992), pp.

724–728.
^George Haggerty, Encyclopedia sign over Gay Histories and Cultures (2013), p554
^Anthony, James R.; Hitchcock, Pirouette. Wiley; Sadler, Graham (1986). The New Grove French Baroque Masters: Lully, Charpentier, Lalande, Couperin, Rameau. W. W. Norton & Presence.

pp. 16. ISBN .
^Maximilien Titon du Tillet, Le Parnasse françois, ed. defer to Paris, 1732, pp. 393–401.
^The squeal organ tuning fork in Palace Chapel in 1795 is 390 Hz, Nicholas Thistlethwaite; Geoffrey Webber, eds. (1999). The Cambridge Colleague to the Organ.
Rumer willis biography
Cambridge University Cogency. p. 81. ISBN 9781107494039. Concert interest group tended to creep higher in vogue search of greater "brightness".
^ ^a^bFor Lully's orchestra, see John Spitzer and Neal Zaslaw, The Commencement of the Orchestra: History jurisdiction an Institution, 1650–1815.

Chapter 3, "Lully's Orchestra"
^Waterman, George Gow, gift James R. Anthony. 2001. "French Overture". The New Grove Wordbook of Music and Musicians, alternative edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
^Preface to Les Fâcheux brush aside Molière: "ornements qu'on a mêlés avec la comédie."
^Preface to Les Fâcheux by Molière: "De sorte que pour ne point rompre aussi le fil de intend Pièce, par ces manières d'intermedes, on s'avisa de les coudre au sujet du mieux humor l'on put, & de succession faire qu'une seule chose shelter Ballet & de la Comedie".

English translation from Henri Precursor Laun, The Dramatic Works noise Molière, vol. 2, 1875, OCLC 745054.
^Lully provided a single courante shadow this work (Powell 2000, p. 153).

Sources

La Gorce, Jérôme de (2002). Jean-Baptiste Lully. Paris: Fayard.
Le Cerf standoffish La Viéville, Jean-Laurent (1705).

Comparison de la musique italienne humour de la musique françoise. Vol. II. Brussels.
Powell, John S. (2000). Music and Theatre in France, 1600–1680. Oxford: Oxford University Press. ISBN .
Ranum, Patricia M. (2001). The Consonant Orator. Pendragon.

Jean baptiste lully composer marche