Jean baptiste lully biography of alberta
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Jean-Baptiste Lully had managed to conjure a similar level of enemies along with admirers. The rest of the articles focus primarily on his music and its reception. Having found a congenial poet and librettist in Philippe Quinault, Lully composed many operas and other works, which were received enthusiastically. ISBN 0521621836
Lully can be considered the founder of French opera, having forsaken the Italian method of dividing musical numbers into separate recitatives and arias, choosing instead to combine the two for dramatic effect. Mlle de Montpensier. The chorus was mainly utilized as a refrain, serving to unify the opera.
He was beating time by banging a long staff (a precursor to the bâton) against the floor, as was the common practice at the time, when he struck his toe, creating an abscess.
Acis et Galatée
Unlike most of his works that were designated as “tragédies en musique,” the composer termed this as “pastorale-héroïque.” The opera had only 3 acts instead of the usual 5, had a basic pastoral theme and was based on “Metamorphoses” by Ovid.
Scandals
He was a notorious libertine. In 1646, he was discovered by the Duke of Guise and taken to France by him, where he entered the services of Mademoiselle de Montpensier (la Grande Mademoiselle) as a scullery-boy. In 1662, he married Madeleine Lambert, daughter of Lully's friend and fellow musician Michel Lambert, and proceeded to have ten children by her.
It is far more likely that he did not want to moulder out in the provinces with the exiled princess.[citation needed]
He came into Louis XIV's service in late 1652, early 1653 as a dancer. Though Mozart thought premier coup d'archet to be a novelty of sorts, this tradition of uniform bowing became an established tradition.
He started serving there as an “Italian Conversationist” and “Garçon de Chamber” at the house of Mlle.
Music
Jean started performing successfully as a music conductor, dancer, and violinist.
This technique, known as premier coup d'archet (first stroke of the bow) became a defining characteristic of his conducting philosophy. If closely analyzed, his arias are simple, structured, and quite short but are decorated by the performers with graceful ornamentations. He definitely made ballet a favorite mode of entertainment in France.
He was appointed as the composer of instrumental music to the King and conducted the royal string orchestra of the French court, Les Vingt-quatre Violons du Roi (Twenty-four Violins of the King) or the Grande Bande (large band). With the help of this princess, his talent increased.
He came into Louis XIV's service in late 1652, early 1653 as a dancer.