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Jean-Baptiste Lully [a] (28 or 29 November [O.S. 18 or 19 November] 1632 – 22 March 1687) was a French composer, dancer and instrumentalist of Italian birth, who is considered a master of the French Baroque music style.
Acis et Galatée (Acis and Galatea) is an opera by Jean-Baptiste Lully. Unlike most of his operas, which are designated tragédies en musique , Lully called this work a pastorale-héroïque , because it was on a pastoral theme and had only three acts (plus a prologue) compared to the usual five.
Frontispiece and title page of Le Bourgeois gentilhomme from a 1688 edition. Le Bourgeois gentilhomme (French pronunciation: [lə buʁʒwa ʒɑ̃tijɔm], translated as The Bourgeois Gentleman, The Middle-Class Aristocrat, or The Would-Be Noble) is a five-act comédie-ballet – a play intermingled with music, dance and singing – written by Molière, first presented on 14 October 1670 before ...
Perhaps one of the most influential men on ballet during the seventeenth century was Jean Baptiste Lully. Lully was born in Italy, but moved to France where he quickly became a favorite of Louis XIV and performed alongside the king in many ballets until the king's retirement from dance in 1670. [3]
Jean-Baptiste Lully is considered the most important composer of music for ballet de cour and instrumental to the development of the form. During his employment by Louis XIV as director of the Académie Royale de Music , he worked with Pierre Beauchamp , Molière , Philippe Quinault and Mademoiselle De Lafontaine to develop ballet as an art ...
In this position Lully, with his librettist Philippe Quinault, created a new genre, the tragédie en musique, each act of which featured a divertissement that was a miniature ballet scene. [27] With almost all his important creations Jean-Baptiste Lully brought together music and drama with Italian and French dance elements.
Among his influences are mainly the masters of the Bolognese school, such as Giovanni Benvenuti , [7] Leonardo Brugnoli and Giovanni Battista Bassani. Also evident is the influence of Jean-Baptiste Lully, attested by Francesco Geminiani, [45] as well as by the Venetian school, in particular Francesco Cavalli, Antonio Cesti and Giovanni Legrenzi.
In the controversy that followed, critics such as Jean-Jacques Rousseau and Friedrich Melchior Grimm, along with other writers associated with the Encyclopédie, praised Italian opera buffa. They attacked French lyric tragedy , a style originated by Jean-Baptiste Lully and promoted by such French composers as Jean-Philippe Rameau .