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Jean-Baptiste Lully [a] (28 November [O.S. 18 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.
Jean-Baptiste Lully: 22 March 1687: The French composer died of a gangrenous abscess after accidentally piercing his foot with a staff while he was vigorously conducting a Te Deum. It was customary at that time to conduct by banging a staff on the floor. He refused to have his leg amputated so he could still dance. [13] [14] William III of England
The opera's overture and first act were composed by Jean-Baptiste Lully, who died from a conducting injury before he could complete the score. The prologue and the remaining acts are the work of his pupil Pascal Collasse who finished the work, eight months after Lully's death on 22 March 1687.
Hercules Fighting Death to Save Alcestis by Frederic Lord Leighton (1869-71) Alceste, ou Le triomphe d'Alcide is a tragédie en musique in a prologue and five acts by Jean-Baptiste Lully. The French-language libretto is by Philippe Quinault, after Euripides' Alcestis.
He continued to choreograph and dance at the Court of Versailles after the death of Jean-Baptiste Lully in 1687; however, choreography and composition of music and ballets for the Jesuit Colleges became his primary occupation from 1697.
Psyché is a five-act tragédie-ballet, originally written as a prose text by Molière and versified in collaboration with Pierre Corneille and Philippe Quinault, with music composed by Jean-Baptiste Lully in 1671 and by Marc-Antoine Charpentier in 1684 (music lost).
Jean Baptiste Lully around 1670. This article contains a list of the works of Jean-Baptiste Lully (LWV); also lists of the dance-forms and instruments he frequently was to use. Works by Lully ( Lully-Werke-Verzeichnis )
In 1647, Jean-Baptiste Lully was brought to Paris from his native Florence to be in the service of La Grande Mademoiselle. In early 1653, he caught the attention of Louis XIV, who named him court composer for instrumental music. Under Lully, music became not simply entertainment, but an expression of royal majesty and power. [19]