SEARCH RESULTS FOR: Lully
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find someone to die in his place. Alcestis volunteers to die for him but is prevented by the hero Hercules, who fights off Death in order to save her. Lully wrote Alceste, which debuted at the Paris Opéra in 1674, to celebrate the French King Louis XIV’s triumph in battle in Franche-Comté. Much of Lully’s output while in ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1632–87, French Jean-Baptiste Lully was a French composer with an Italian background. He was born in Florence on 28 November 1632. His original name, later gallicized, was Giovanni Battista Lulli. In 1646, aged 14, he was placed with a noble household in Paris as a singer, dancer and violinist, and he became familiar with ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

(Zhan Ba-test’ Lü-le’) 1632–87 French composer Lully was an Italian by birth, but as a youth he accompanied the Chevalier de Guise to Paris, where he remained for the rest of his life. In 1653, Lully danced with the young King Louis XIV in the Ballet de la nuit, and it was from this point that he began ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

court of the seventeenth century and as the Baroque period progressed, string orchestras became commonplace fixtures in royal courts throughout Europe, often with a violinist-composer such as Jean-Baptiste Lully (1632–87) or Arcangelo Corelli (1653–1713) as its figurehead. Baroque string orchestras were usually directed by a harpsichord player, but these began to disappear with the change in musical styles ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

The term ‘horn’ is generally used to refer to the orchestral horn, also known as the French horn. Although it is used in jazz slang to indicate any wind instrument played by a soloist, the name here refers to the orchestral horn. History The early history of the horn is bound intimately to that of the trumpet. Both instruments ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

Music By the sixteenth century, the recorder was one of the most popular instruments in Europe. It was used in instrumental and vocal music by Claudio Monteverdi (1567–1643), Jean-Baptiste Lully (1632–87), Marc-Antoine Charpentier (1645–1704), Henry Purcell (1659–95), George Frideric Handel (1685–1759) and Johann Sebastian Bach (1685–1750). Perhaps more significant, though, was its use among amateurs. The ease with ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

T-shaped taps set around the rim of the drum, which were easier and quieter to use. Early Timpani Timpani first appear in the orchestra in Thésée (1675) by Jean-Baptiste Lully (1632–87). Until Carl Maria von Weber (1786–1826) used three timpani in the overture to the opera The Ruler of the Spirits in 1811, the orchestra used two hand-tuned timpani ...

Source: The Illustrated Complete Musical Instruments Handbook, general editor Lucien Jenkins

Dame in 1700 and embarked on a prolific career as a composer of opera. Campra’s sizable output included some 40 dramatic works, from short divertissements to full-length operas. Jean-Baptiste Lully, the ‘father’ of French opera, exerted a strong influence over Campra’s output, which won him great popularity and acclaim. Among his many honours and awards was an ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1671–1748, French Librettist Danchet was born on 7 September 1671 at Riom in Auvergne. His first theatrical text, Vénus (1698), was privately performed at Paris. This was also his first collaboration with composer André Campra (1660–1744). Between 1698 and 1735 Danchet and Campra produced several pastorals, ballets and opéra ballets, and 11 tragedies lyriques including Hésione (1700), ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

version of Orfeo, in which the traditions of French opera were directly challenged. He challenged tradition even more squarely in 1776, when he wrote Armide, of which Lully had made a setting that was regarded as a classic that was not to be surpassed. Gluck went on to a French revision of Alceste (1777) and the noble Iphigénie ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Fran-ches’-ko Ka-val’-le) 1602–76 Italian composer Cavalli was born Caletti but took the name of his first patron. His life was centred on the basilica of St Mark’s, where his teacher, Monteverdi, was maestro di cappella. He became second organist there in 1639, principal organist in 1665, and maestro di cappella in 1668. He was the most gifted ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

and small-scale sacred vocal pieces (petits motets) modelled on those of Marc-Antoine Charpentier (1643–1704), who had studied in Rome. Two extended trios, L’apothéose de Corelli (1724), and L’apothéose de Lully (1725), bear witness to his fascination with national styles and their unification. Couperin is recognized, above all, for his solo harpsichord music, issued in four collections of ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Ga-ôrg’ Moo’-fat) 1653–1704 German composer During the 1660s, Muffat worked with Lully in Paris, later visiting Vienna, Prague, Salzburg and Rome. The deep impression that his Italian and French studies made is reflected in four important collections. Armonico tributo (1682) consists of five sonatas modelled on Corelli’s concertos. These were revised and included along with six new concertos ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

his emphasis on orchestral accompaniment and instrumental melodies, which anticipated practices later developed by the so-called Neapolitan school. Introduction | Early & Middle Baroque | Opera Personalities | Jean-Baptiste Lully | Early & Middle Baroque | Opera ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

them in the form of operas. In all, 17 of Molière’s plays have been turned into 75 operas since 1706, over half of them in the twentieth century. Lully provided music for plays by Molière. So did Charpentier towards the end of Molière’s life, when he wrote music for Le mariage forcé and Le malade imaginaire. Molière came ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie
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