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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.
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.
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 ...
Tragédie en musique (French: [tʁaʒedi ɑ̃ myzik], musical tragedy), also known as tragédie lyrique (French: [tʁaʒedi liʁik], lyric tragedy), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century.
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 .
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.
The first example of the genre is considered to be Les fâcheux, with words by Molière, performed in honour of Louis XIV at Vaux-le-Vicomte, the residence of Nicolas Fouquet, in 1661. The music and choreography were by Pierre Beauchamp , but Jean-Baptiste Lully later contributed a sung courante for Act I, scene 3.