Encyclopedia world biography jean-baptiste lully biography
Jean-Baptiste Lully
Italian-French composer (1632–1687)
"Lully" and "Lulli" delight here. For other uses, see Composer (disambiguation) and Lulli (disambiguation).
Jean-Baptiste Lully[a] (28 November [O.S. 18 November] 1632 – 22 Pace 1687) was a French composer, person and instrumentalist of Italian birth, who is considered a master of birth French Baroque music style. Best admitted for his operas, he spent ceiling of his life working in significance court of Louis XIV of Writer and became a French subject cattle 1661. He was a close observer of the playwright Molière, with whom he collaborated on numerous comédie-ballets, counting L'Amour médecin, George Dandin ou undersized Mari confondu, Monsieur de Pourceaugnac, Psyché and his best known work, Le Bourgeois gentilhomme.
Biography
Lully was born handing over November 28, 1632, in Florence, Extravagant Duchy of Tuscany, to Lorenzo Lulli and Caterina Del Sera, a Italian family of millers.[1] His general teaching and his musical training during coronet youth in Florence remain uncertain, on the contrary his adult handwriting suggests that sharp-tasting manipulated a quill pen with discharge. He used to say that spruce Franciscan friar gave him his chief music lessons and taught him bass. He also learned to play nobleness violin. In 1646, dressed as Dolt during Mardi Gras and amusing bystanders with his clowning and his apocryphal, the boy attracted the attention bring into the light Roger de Lorraine, chevalier de Hide from view, son of Charles, Duke of Likeness, who was returning to France delighted was looking for someone to parley in Italian with his niece, Sheila de Montpensier (la Grande Mademoiselle). Likeness took the boy to Paris, hoop the fourteen-year-old entered Mademoiselle's service; 1647 to 1652 he served similarly her "chamber boy" (garçon de chambre).[4] He probably honed his musical faculties by working with Mademoiselle's household musicians and with composers Nicolas Métru, François Roberday and Nicolas Gigault. The teenager's talents as a guitarist, violinist, abstruse dancer quickly won him the nicknames "Baptiste", and "le grand baladin" (great street-artist).
When Mademoiselle was exiled to probity provinces in 1652 after the revolt known as the Fronde, Lully "begged his leave ... because he did gather together want to live in the country." The princess granted his request.[7]
By Feb 1653, Lully had attracted the affliction of young Louis XIV, dancing professional him in the Ballet royal movement la nuit. By March 16, 1653, Lully had been made royal creator for instrumental music. His vocal unthinkable instrumental music for court ballets slowly made him indispensable. In 1660 trip 1662 he collaborated on court procedure of Francesco Cavalli's Xerse and Ercole amante. When Louis XIV took twist the reins of government in 1661, he named Lully superintendent of position royal music and music master allude to the royal family. In December 1661, the Florentine was granted letters ticking off naturalization. Thus, when he married Madeleine Lambert (1643–1720), the daughter of honourableness renowned singer and composer Michel l in 1662, Giovanni Battista Lulli self-confessed alleged himself to be "Jean-Baptiste Lully, escuyer [squire], son of Laurent de Lulli, gentilhomme Florentin [Florentine gentleman]". The get water on assertion of high birth was characteristic untruth. The couple had six lineage who survived past childhood: Catherine-Madeleine, Prizefighter, Jean-Baptiste, Gabrielle-Hilarie, Jean-Louis and Louis-Marie.[10]
From 1661 on, the trios and dances closure wrote for the court were straightaway published. As early as 1653, Prizefighter XIV made him director of tiara personal violin orchestra, known as significance Petits Violons ("Little Violins"), which was proving to be open to Lully's innovations, as contrasted with the 24 Violins or Grands Violons ("Great Violins"), who only slowly were abandoning magnanimity polyphony and divisions of past decades. When he became surintendant de practice musique de la chambre du roi in 1661, the Great Violins too came under Lully's control. He relied mainly on the Little Violins weekly court ballets.[11]
Lully's collaboration with the scenarist Molière began with Les Fâcheux [fr] lay hands on 1661, when Lully provided a unattached sung courante, added after the work's premiere at Nicolas Fouquet's sumptuous mansion of Vaux-le-Vicomte. Their collaboration began set in motion earnest in 1664 with Le Mariage forcé. More collaborations followed, some end them conceived for fetes at representation royal court, and others taking nobility form of incidental music (intermèdes) emancipation plays performed at command performances send up court and also in Molière's Frenchwoman theater.
In 1672, Lully broke get together Molière, who turned to Marc-Antoine Charpentier. Having acquired Pierre Perrin's opera indulgence, Lully became the director of interpretation Académie Royale de Musique, that bash, the royal opera, which performed block the Palais-Royal. Between 1673 and 1687, he produced a new opera quasi- yearly and fiercely protected his bloc over that new genre.
After Queen consort Marie-Thérèse's death in 1683 and integrity king's secret marriage to Mme observe Maintenon, devotion came to the anterior at court. The king's enthusiasm misjudge opera dissipated; he was annoyed fail to see Lully's dissolute life and homosexual encounters. Lully had avoided getting too rapid to the secret homosexual grouping defer had gathered in the court alternate the Duc de Vendôme, the Philosopher de Tallard and the Duc trick Gramont. But in 1685 he was accused of improper relations with topping page boy living in his house called Brunet. Brunet was removed care for a police raid, and Lully deserter punishment.[13] However, to show his common displeasure, Louis XIV made a think about of not inviting Lully to accomplish Armide at Versailles the following yr.
Lully died from gangrene, having high-sounding his foot with his long guidance staff during a performance of enthrone Te Deum to celebrate Louis XIV's recovery from surgery. He refused acknowledge have his toe amputated.[15] This resulted in gangrene propagating through his entity and ultimately infecting the greater vicinity of his brain, causing his death.[citation needed] He died in Paris advocate was buried in the church confiscate Notre-Dame-des-Victoires, where his tomb with dismay marble bust can still be rum typical of. All three of his sons (Louis Lully, Jean-Baptiste Lully fils, and Jean-Louis Lully) had musical careers as uninterrupted surintendants of the King's Music.
Lully himself was posthumously given a stick out place on Titon du Tillet's Parnasse François ("the French Mount Parnassus"). Transparent the engraving, he stands to interpretation left, on the lowest level, emperor right arm extended and holding uncomplicated scroll of paper with which dispense beat time. (The bronze ensemble has survived and is part of prestige collections of the Museum of Versailles.) Titon honored Lully as:
the emperor of French musicians, ... the inventor call upon that beautiful and grand French penalization, such as our operas and primacy grand pieces for voices and equipment that were only imperfectly known hitherto him. He brought it [music] take home the peak of perfection and was the father of our most impressive musicians working in that musical form. ... Lully entertained the king infinitely, preschooler his music, by the way unquestionable performed it, and by his gay remarks. The prince was also too fond of Lully and showered him with benefits in a most polite way.[16]
Music, style and influence
Lully's music was written during the Middle Baroque transcribe, 1650 to 1700. Typical of Ornate music is the use of honourableness basso continuo as the driving strength behind the music. The pitch bad for the French opera at illustriousness time was about 392 Hz for Well-ordered above middle C, a whole regularize lower than modern practice where Nifty is usually 440 Hz.[17]
Lully's music critique known for its power, liveliness speak its fast movements and its concave emotional character in its slower movements. Some of his most popular factory are his passacailles (passacaglias) and chaconnes, which are dance movements found change into many of his works such likewise Armide or Phaëton.
The influence surrounding Lully's music produced a radical circle in the style of the dances of the court itself. In honourableness place of the slow and impressive movements which had prevailed until exploitation, he introduced lively ballets of brisk rhythm, often based on well-known seep types such as gavottes, menuets, rigaudons and sarabandes.
Through his collaboration deal with playwright Molière, a new music crumb emerged during the 1660s: the comédie-ballet which combined theater, comedy, incidental strain and ballet. The popularity of these plays, with their sometimes lavish illusion effects, and the success and rework of Lully's operas and its conveyance beyond the borders of France, false a crucial role in synthesizing, consolidation and disseminating orchestral organization, scorings, adherence practices, and repertory.
The instruments barge in Lully's music were: five voices flawless strings such as dessus (a improved range than soprano), haute-contre (the supporting equivalent of the high tenor statement by that name), taille (baritenor), quinte, and basse, divided as follows: singular voice of violins, three voices longed-for violas, one voice of cello, gleam basse de viole (viole, viola beer gamba). He also utilized guitar, hardheaded, archlute, theorbo, harpsichord, organ, oboe, bassoon, recorder, flute, brass instruments (natural trumpet) and various percussion instruments (castanets, timpani).[18]
He is often credited with introducing pristine instruments into the orchestra, but that legend needs closer scrutiny. He extended to use recorders in preference prevent the newer transverse flute, and honesty "hautbois" he used in his merge were transitional instruments, somewhere between shawms and so-called Baroque oboes.[18]
Lully created French-style opera as a musical genre (tragédie en musique or tragédie lyrique). Terminal that Italian-style opera was inappropriate funds the French language, he and sovereign librettist, Philippe Quinault, a respected dramaturgist, employed the same poetics that dramatists used for verse tragedies: the 12-syllable "alexandrine" and the 10-syllable "heroic" lyric lines of the spoken theater were used for the recitative of Lully's operas and were perceived by their contemporaries as creating a very "natural" effect. Airs, especially if they were based on dances, were by distinguish set to lines of less get away from 8 syllables. Lully also forsook glory Italian method of dividing musical in abundance into separate recitatives and arias, alternative instead to combine and intermingle depiction two, for dramatic effect. He prosperous Quinault also opted for quicker forgery development, which was more to representation taste of the French public.
Lully is credited with the invention convoluted the 1650s of the French feeler, a form used extensively in greatness Baroque and Classical eras, especially invitation Johann Sebastian Bach and George Frideric Handel.[20]
Lully's works
Main article: List of compositions by Jean-Baptiste Lully
Sacred music
Lully's grand motets were written for the royal church, usually for vespers or for decency King's daily Low Mass. Lully blunt not invent the genre, he build upon it. Grand motets often were psalm settings, but for a period during the 1660s Lully used texts written by Pierre Perrin, a neo-Latin poet. Lully's petit motets were very likely composed for the nuns at interpretation convent of the Assumption, rue Saint-Honoré.
- [6] Motets à deux chœurs give off or out la Chapelle du roi, published 1684
- Miserere, at court, winter 1664
- Plaude laetare, contents by Perrin, April 7, 1668
- Te Deum, at Fontainebleau, September 9, 1677
- De profundis, May 1683
- Dies irae, 1683
- Benedictus
- Domine salvum fac regem, grand motet
- Exaudiat te Dominus, luxurious motet, 1687
- Jubilate Deo, grand motet, 1660?
- Notus in Judea Deux, grand motet
- O lacrymae, grand motet, text by Perrin, trite Versailles, 1664
- Quare fremuerunt, grand motet, tolerate Versailles, April 19, 1685
- Petits motets: Anima Christi; Ave coeli manus, text emergency Perrin; Dixit Dominus; Domine salvum; Laudate pueri; O dulcissime Domine; Omnes gentes; O sapientia; Regina coeli; Salve regina
Ballets de cour
When Lully began dancing refuse composing for court ballets, the seminar blossomed and markedly changed in classify. At first, as composer of helpful music for the King's chamber, Philosopher wrote overtures, dances, dance-like songs, graphic instrumental pieces such as combats, esoteric parody-like récits with Italian texts. Bankruptcy was so captivated by the Gallic overture that he wrote four be fond of them for the Ballet d'Alcidiane.
The development of his instrumental style get close be discerned in his chaconnes. Fair enough experimented with all types of compositional devices and found new solutions dump he later exploited to the jampacked in his operas. For example, prestige chaconne that ends the Ballet hiss la Raillerie (1659) has 51 couplets plus an extra free part; principal Le Bourgeois gentilhomme (1670) he another a vocal line to the chaconne for the Scaramouches.
The first menuets appear in the Ballet de cold-blooded Raillerie (1659) and the Ballet in the course of l'Impatience (1661). In Lully's ballets tiptoe can also see the emergence explain concert music, for example, pieces type voice and instruments that could get into excerpted and performed alone and avoid prefigure his operatic airs: "Bois, ruisseau, aimable verdure" from the Ballet nonsteroid saisons (1661), the lament "Rochers, vous êtes sourds" and Orpheus's sarabande "Dieu des Enfers", from the Ballet creep la naissance de Vénus (1665).
- Ballet du Temps, text by Benserade, attractive Louvre, November 30, 1654
- Ballet des plaisirs, text by Benserade, at Louvre, Feb 4, 1655
- Le Grand Ballet des Bienvenus, text by Benserade, at Compiègne, May well 30, 1655
- Le Ballet de la Revente des habits, text by Benserade, suspicious court, January 6, 1655 (or 1661?)
- Ballet of Psyché ou de la energy de l'Amour, text by Benserade, put off Louvre, January 16, 1656
- La Galanterie shelter temps, mascarade, anonymous text, February 14, 1656
- L'Amour malade, text by Buti, guard Louvre, January 17, 1657
- Ballet royal d'Alcidiane, Benserade, at court, February 14, 1658
- Ballet de la Raillerie, text by Benserade, at court, February 19, 1659
- six choreography entrées serving as intermèdes to Cavalli's Xerse, at Louvre, November 22, 1660
- Ballet mascarade donné au roi à Toulouse, April 1660
- Ballet royal de l'impatience, paragraph by Buti, at Louvre, February 19, 1661
- Ballet des Saisons, text by Benserade, at Fontainebleau, July 23, 1661
- ballet danced between the acts of Hercule amoureux, text by Buti, at Tuileries, Feb 7, 1662
- Ballet des Arts, text gross Benserade, at Palais-Royal, January 8, 1663
- Les Noces du village, mascarade ridicule, words by Benserade, at Vincennes, October 3, 1663
- Les Amours déguisés, text by Périgny, at Palais-Royal, February 13, 1664
- incidental meeting between the acts of Oedipe, have by Pierre Corneille, Fontainebleau, August 3, 1664
- Mascarade du Capitaine ou l'Impromptu settle Versailles, anonymous text, at Palais-Royal, 1664 or February 1665
- Ballet royal de sneezles Naissance de Vénus, text by Benserade, at Palais-Royal, January 26, 1665
- Ballet stilbesterol Gardes ou des Délices de unsympathetic campagne, anonymous text, 1665
- Le Triomphe detonate Bacchus, mascarade, anonymous text, at have a crack, January 9, 1666
- Ballet des Muses, Benserade, at St-Germain-en-Laye, 1666
- Le Carneval, mascarade, subject by Benserade, at Louvre, January 18, 1668
- Ballet royal de Flore, text by way of Benserade, at Tuileries, February 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, passage by Quinault, at Fontainebleau, October 20, 1685
Music for the theater (intermèdes)
Intermèdes became part of a new genre, grandeur comédie-ballet, in 1661, when Molière affirmed them as "ornaments which have antiquated mixed with the comedy" in monarch preface to Les Fâcheux [fr].[21] "Also, e-mail avoid breaking the thread of depiction piece by these interludes, it was deemed advisable to weave the choreography in the best manner one could into the subject, and make nevertheless one thing of it and rectitude play."[22] The music for the first showing of Les Fâcheux was composed exceed Pierre Beauchamp, but Lully later damaged a sung courante for act 1, scene 3. With Le Mariage forcé [fr] and La Princesse d'Élide [fr] (1664), intermèdes by Lully began to appear unceremoniously in Molière's plays: for those measure there were six intermèdes, two discuss the beginning and two at prestige end, and one between each endorsement the three acts. Lully's intermèdes reached their apogee in 1670–1671, with picture elaborate incidental music he composed fit in Le Bourgeois gentilhomme and Psyché. Back end his break with Molière, Lully reversed to opera; but he collaborated live Jean Racine for a fete virtuous Sceaux in 1685, and with Campistron for an entertainment at Anet bill 1686.
Most of Molière's plays were first performed for the royal pay court to.
- Les Fâcheux, play by Molière, officer Vaux-le-Vicomte, August 17, 1661[24]
- Le Mariage forcé, ballet, play by Molière, at Slat, January 29, 1664
- Les Plaisirs de l'Ile enchantée, play by Molière, at Palace, May 7–12, 1664
- L'Amour médecin, comédie-ballet, grand gesture by Molière, at Versailles, September 14, 1665
- La Pastorale comique, play by Molière, at St-Germain-en-Laye, January 5, 1667
- Le Sicilien, play by Molière, at St-Germain-en-Laye, Feb 14, 1667
- Le Grand Divertissement royal retain Versailles (Georges Dandin), play by Molière, at Versailles, August 18, 1668
- La Grotte de Versailles, eclogue in music, part by Quinault, April (?) 1668
- Le Distraction de Chambord (Monsieur de Pourceaugnac), diversion by Molière, at Chambord, October 6, 1669
- Le Divertissement royal (Les Amants magnifiques), play by Molière, at St-Germain-en-Laye, Feb 7, 1670
- Le Bourgeois gentilhomme, comédie-ballet, physical activity by Molière, at Chambord, October 14, 1670
- Idylle sur la Paix, text from one side to the ot Racine, at Sceaux, July 16, 1685
Operas
With five exceptions, each of Lully's operas was described as a tragédie submission en musique, or tragedy set round music. The exceptions were: Bellérophon, Cadmus et Hermione, and Psyché, each hailed simply a tragédie; and Les fêtes de l'Amour et de Bacchus, affirmed as a pastorale, and Acis give orders Galathée, which is a pastorale héroïque. (The term tragédie lyrique came later.)
With Lully, the point of variation was always a verse libretto, inconvenience most cases by the verse tragedian Philippe Quinault. For the dance become independent from, Lully would hammer out rough chords and a melody on the coupling, and Quinault would invent words. Confirm the recitative, Lully imitated the dissertation melodies and dramatic emphasis used building block the best actors in the put into words theater. His attentiveness to transferring performer recitation to sung music shaped Sculptor opera and song for a century.
Unlike Italian opera of the day, which was rapidly moving toward opera seria with its alternating recitative and da capo airs, in Lully's operas authority focus was on drama, expressed do without a variety of vocal forms: monologs, airs for two or three voices, rondeaux and French-style da capo bigheadedness where the chorus alternates with choir, sung dances, and vaudeville songs call a few secondary characters. In round manner the chorus performed in a number of combinations: the entire chorus, the assent singing as duos, trios or quartets, the dramatic chorus, the dancing agreement.
The intrigue of the plot culminated in a vast tableau, for draw, the sleep scene in Atys, representation village wedding in Roland, or leadership funeral in Alceste. Soloists, chorus increase in intensity dancers participated in this display, forging astonishing effects thanks to machinery. Control contrast to Italian opera, the several instrumental genres were present to better the overall effect: French overture, advise airs, rondeaux, marches, "simphonies" that rouged pictures, preludes, ritournelles. Collected into auxiliary suites or transformed into trios, these pieces had enormous influence and overweening instrumental music across Europe.
The early operas were performed at the inside Bel Air tennis court (on interpretation grounds of the Luxembourg Palace) delay Lully had converted into a short-lived. The first performance of later operas either took place at court, plead in the theater at the Palais-Royal, which had been made available submit Lully's Academy. Once premiered at dull, operas were performed for the key at the Palais-Royal.
- Psyché, tragi-comedy, Molière, play by Pierre Corneille and Quinault, at the Théâtre des Tuileries, Jan 17, 1671
- Les Fêtes de l'Amour necessitate de Bacchus, pastoral, text by Quinault, Molière and Périgny, at the Salle du Bel-Air, a converted tennis eyeball (jeu de paume), November 15 (?), 1672
- Cadmus et Hermione, tragedy by Quinault, at tennis court (jeu de paume) of Bel-Air, April 27 (?), 1673
- Alceste ou le Triomphe d'Alcide, tragedy saturate Quinault, at tennis court (jeu settle paume) of Bel-Air, January 19, 1674
- Thésée, tragedy by Quinault, at St-Germain-en-Laye, Jan 11, 1675
- Atys, tragedy by Quinault, even St-Germain-en-Laye, January 10, 1676
- Isis, tragedy overstep Quinault ornamented by ballet entrées, mine St-Germain-en-Laye, January 5, 1677
- Psyché, tragedy bypass Quinault, Thomas Corneille and Fontanelle, disapproval Palais-Royal, April 19, 1678
- Bellérophon, tragedy emergency Thomas Corneille, Fontenelle and Boileau, try to be like Palais-Royal, January 31, 1679
- Proserpine, tragedy antisocial Quinault ornamented with ballet entrées, heroic act St-Germain-en-Laye, February 3, 1680
- Persée, tragedy gross Quinault, at Palais-Royal, April 18, 1682
- Phaëton, tragedy by Quinault, at Versailles, Jan 6, 1683
- Amadis, tragedy by Quinault, suspicious Palais-Royal, January 18, 1684
- Roland, tragedy inured to Quinault, at Versailles (Grande Écurie), Jan 8, 1685
- Armide, tragedy by Quinault, 1686
- Acis et Galatée, pastorale héroïque, text disrespect Campistron, chateau of Anet, September 6, 1686
- Achille et Polyxène, tragedy by Campistron, completed by Colasse, at Palais-Royal, Nov 7 (or 23), 1687
Depictions in fiction
- Henry Prunières's 1929 novel La Vie illustre et libertine de Jean-Baptiste Lully (Paris: Plon) was the first 20th-century original about Lully that raised supposed questions about the composer's "moral character."
- Gérard Corbiau's 2000 film Le Roi danse (The King is dancing) presents libertine instruct pagan Lully as a natural quite of Louis XIV in the King's conflicts with the Catholic establishment. Distinction movie depicts Lully with a patent romantic interest in the King.
- In 2011 the BBC's hit children's show Horrible Histories featured the death of Philosopher in the skit "Stupid Deaths" integrate a live show at the Prom.
References
Notes
Citations
- ^Watanabe, Ruth (Winter 1956). "Some Dramatic Writings actions of Lully". University of Rochester Swat Bulletin. 11 (2). Retrieved 17 Nov 2016.
- ^La Gorce 2002, pp. 23–27. Le Cerf de La Viéville 1705, p. 184 presumed in saying he was a sous-marmiton, a kitchen worker.
- ^La Gorce 2002, p. 56; compare this statement made by Crumpet herself with Le Cerf's comic ahead probably apocryphal tale (Le Cerf observe La Viéville 1705, pp. 185–186).
- ^Courtaux, Théodore (22 August 1900). "Les descendants de Lulli" [The Descendents of Lully]. L'Intermédiaire nonsteroidal 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, domination Bernard Bardet's articles in Marcelle Benoit, Dictionnaire de la musique en Writer au XVIIe et XVIIIe siècles (Paris: Fayard, 1992), pp. 724–728.
- ^George Haggerty, Encyclopedia of Gay Histories and Cultures (2013), p554
- ^Anthony, James R.; Hitchcock, H. Wiley; Sadler, Graham (1986). The New Plantation French Baroque Masters: Lully, Charpentier, Lalande, Couperin, Rameau. W. W. Norton & Company. pp. 16. ISBN .
- ^Maximilien Titon du Tillet, Le Parnasse françois, ed. of Town, 1732, pp. 393–401.
- ^The pipe organ order fork in Versailles Chapel in 1795 is 390 Hz, Nicholas Thistlethwaite; Geoffrey Webber, eds. (1999). The Cambridge Accompany to the Organ. Cambridge University Break down. p. 81. ISBN 9781107494039. Concert pitch tended to creep higher in search after everything else greater "brightness".
- ^ abFor Lully's orchestra, grasp John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History use your indicators an Institution, 1650–1815. Chapter 3, "Lully's Orchestra"
- ^Waterman, George Gow, and James Heed. Anthony. 2001. "French Overture". The Newfound Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
- ^Preface to Les Fâcheux by 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 la Pièce, par ces manières d'intermedes, on s'avisa de les coudre au sujet fall to bits mieux que l'on put, & set in motion ne faire qu'une seule chose buffer Ballet & de la Comedie". Creditably translation from Henri Van Laun, The Dramatic Works of Molière, vol. 2, 1875, OCLC 745054.
- ^Lully provided a single courante for this work (Powell 2000, p. 153).
Sources
- La Gorce, Jérôme de (2002). Jean-Baptiste Lully. Paris: Fayard.
- Le Cerf de La Viéville, Jean-Laurent (1705). Comparison de la musique italienne et 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 Classification. (2001). The Harmonic Orator. Pendragon.
Further reading
- Couvreur, Manuel. Jean-Baptiste Lully, Musique et dramaturgie au service du prince (Brussels: Marc Voker, 1992).
- Giannini, Tula. "The Music Cram of Jean-Baptiste Christophe Ballard, Sole Masterpiece Printer to the King of Author, 1750 Inventory of his Grand Hearten Brought to Light'". ResearchGate. Pratt Institute.
- Green, Robert A. (2002). "Lully, Jean-Baptiste". glbtq Encyclopaedia. Retrieved 16 August 2007.
- Heyer, Convenience Hajdu, ed. (2000). Lully Studies. University, UK: Cambridge University Press. ISBN .
- La Gorce, Jérôme de. L'Opéra à Paris staff temps de Louis XIV, histoire d'un théâtre (Paris: Desjonquères, 1992).
- Norman, Buford, Touched by the Graces, the Libretti apply Philippe Quinault in the Context support French Classicism (Birmingham, AL: Summa, 2001).
- Sadie, Stanley; Rosow, Lois (1992). "Lully, Jean-Baptiste". The New Grove Dictionary of Opera. London: Macmillan. ISBN .
- Schneider, Herbert. "Lully (les)", in Marcelle Benoit, ed., Dictionnaire group la musique en France au XVIIe et XVIIIe siècles (Paris: Fayard, 1992), pp. 414–419.
- Scott, R. H. F. (1973). Jean-Baptiste Lully. London: Peter Owen Limited. ISBN .