Jean-Baptiste Lully

Jean-Baptiste Lully - Wikipedia, the free encyclopedia
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https://en.wikipedia.org/wiki/Jean-Baptiste_Lully
Jean-Baptiste Lully
From Wikipedia, the free encyclopedia
Jean-Baptiste Lully (French: [ ba.tist ly.li]; born Giovanni

Battista Lulli [dovanni battista lulli]; 28 November 1632
22 March 1687) was an Italian-born French composer,
instrumentalist, and dancer who spent most of his life working
in the court of Louis XIV of France. He is considered a master
of the French baroque style. Lully disavowed any Italian
influence in French music of the period. He became a French
subject in 1661.
Contents
1 Biography
2 Music, style and influence
3 Lully's works
3.1 Sacred music
3.2 Ballets de cour
3.3 Music for the theater (intermdes)
3.4 Operas (tragedies in music)
4 Depictions in fiction
5 Notes
6 Further reading
7 External links
Jean-Baptiste Lully
Biography
Lully was born in Florence, Grand Duchy of Tuscany, to a family of millers. His general education
and his musical training during his youth in Florence remain uncertain, but his adult handwriting
suggests that he manipulated a quill pen with ease. He used to say that a Franciscan friar gave him
his first music lessons and taught him guitar.[1] He also learned to play the violin. In 1646, dressed
as Harlequin during Mardi Gras and amusing bystanders with his clowning and his violin, the boy
attracted the attention of Roger de Lorraine, chevalier de Guise, son of Charles, Duke of Guise,
who was returning to France and was looking for someone to converse in Italian with his niece,
Mademoiselle de Montpensier (la Grande Mademoiselle). Guise took the boy to Paris, where the
fourteen-year-old entered Mademoiselle's service; from 1647 to 1652 he served as her "chamber
boy" (garon de chambre).[2] He probably honed his musical skills by working with
Mademoiselle's household musicians and with composers Nicolas Mtru, Franois Roberday and
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Nicolas Gigault. The teenager's talents as a guitarist, violinist, and

dancer quickly won him the nicknames "Baptiste", and "le grand
baladin" (great street-artist).[3]
When Mademoiselle was exiled to the provinces in 1652 after the
rebellion known as the Fronde, Lully "begged his leave ... because he
did not want to live in the country." The princess granted his request.[4]
By February 1653 Lully had attracted the attention of young Louis
XIV, dancing with him in the Ballet royal de la nuit. By March 16,
1653, Lully had been made royal composer for instrumental music. His
vocal and instrumental music for court ballets gradually made him
indispensable. In 1660 and 1662 he collaborated on court
Jean-Baptiste Lully,
performances of Francesco Cavalli's Xerse and Ercole amante.[5]
around 1670
When Louis XIV took over the reins of government in 1661, he named
Lully superintendent of the royal music and music master of the royal
family. In December 1661 the Florentine was granted letters of naturalization. Thus, when he
married Madeleine Lambert (16431720), the daughter of the renowned singer and composer
Michel Lambert in 1662, Giovanni Battista Lulli declared himself to be "Jean-Baptiste Lully,
escuyer [squire], son of "Laurent de Lully, gentilhomme Florentin [Florentine gentleman]". The
latter assertion was an untruth.[6]
From 1661 on, the trios and dances he wrote for the court were promptly published. As early as
1653, Louis XIV made him director of his personal violin orchestra, known as the Petits Violons
("Little Violins"), which was proving to be open to Lully's innovations, as contrasted with the
Twenty-Four Violins or Grands Violons ("Great Violins"), who only slowly were abandoning the
polyphony and divisions of past decades. When he became surintendant de la musique de la
chambre du roi in 1661, the Great Violins also came under Lully's control. He relied mainly on the
Little Violins for court ballets.[7]
Lully's collaboration with the playwright Molire began with Les Fcheux in 1661, when Lully
provided a single sung courante, added after the work's premiere at Nicolas Fouquet's sumptuous
chateau of Vaux-le-Vicomte. Their collaboration began in earnest in 1664 with Le Mariage forc.
More collaborations followed, some of them conceived for fetes at the royal court, and others
taking the form of incidental music (intermdes) for plays performed at command performances at
court and also in Molire's Parisian theater.
In 1672 Lully broke with Molire, who turned to Marc-Antoine Charpentier. Having acquired
Pierre Perrin's opera privilege, Lully became the director of the Acadmie Royale de Musique, that
is, the royal opera, which performed in the Palais-Royal. Between 1673 and 1687 he produced a
new opera almost yearly and fiercely protected his monopoly over that new genre.
After Queen Marie-Thrse's death in 1683 and the king's secret marriage to Mme de Maintenon,
devotion came to the fore at court. The king's enthusiasm for opera dissipated; he was revolted by
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Lully's dissolute life and homosexual encounters.[8] In 1686, to show his displeasure, Louis XIV
made a point of not inviting Lully to perform Armide at Versailles. Lully died from gangrene,
having struck his foot with his long conducting staff during a performance of his Te Deum to
celebrate Louis XIV's recovery from surgery.[9] He refused to have his leg amputated so he could
still dance.[10] This resulted in gangrene propagating through his body and ultimately infecting the
greater part of his brain, causing his death.[10] He died in Paris and was buried in the church of
Notre-Dame-des-Victoires, where his tomb with its marble bust can still be seen. All three of his
sons (Louis Lully, Jean-Baptiste Lully fils, and Jean-Louis Lully) had musical careers as successive
surintendants of the King's Music.
Lully himself was posthumously given a conspicuous place on Titon
du Tillet's Parnasse Franois ("the French Mount Parnassus"). In the
engraving, he stands to the left, on the lowest level, his right arm
extended and holding a scroll of paper with which to beat time. (The
bronze ensemble has survived and is part of the collections of the
Museum of Versailles.) Titon honored Lully as:
"the prince of French musicians, ... the inventor of that beautiful
and grand French music, such as our operas and the grand pieces
for voices and instruments that were only imperfectly known
before him. He brought it [music] to the peak of perfection and
was the father of our most illustrious musicians working in that
musical form. ... Lully entertained the king infinitely, by his
music, by the way he performed it, and by his witty remarks. The
prince was also very fond of Lully and showered him with
benefits in a most gracious way."[11]
Garnier's engraving of
Titon du Tillet's "French
Parnassus", 1732
Music, style and influence

Lully's music was written during the Middle Baroque period, 1650 to 1700. Typical of Baroque
music is the use of the basso continuo as the driving force behind the music. The pitch standard for
French Baroque music was about 392 Hz for A above middle C, a whole tone lower than modern
practice where A is usually 440 Hz.
Lully's music is known for its power, liveliness in its fast movements and its deep emotional
character in its slower movements. Some of his most popular works are his passacailles
(passacaglias) and chaconnes, which are dance movements found in many of his works such as
Armide or Phaton.
The influence of Lully's music produced a radical revolution in the style of the dances of the court
itself. In the place of the slow and stately movements which had prevailed until then, he introduced
lively ballets of rapid rhythm, often based on well-known dance types such as gavottes, menuets,
rigaudons and sarabandes.
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Through his collaboration with playwright Molire, a new music form emerged during the 1660s:
the comdie-ballet which combined theater, comedy, incidental music and ballet. The popularity of
these plays, with their sometimes lavish special effects, and the success and publication of Lully's
operas and its diffusion beyond the borders of France, played a crucial role in synthesizing,
consolidating and disseminating orchestral organization, scorings, performance practices, and
repertory.
Portrait of Several Musicians and Artists by

Franois Puget. Traditionally the two main
figures have been identified as the composer
Jean-Baptiste Lully and the librettist
Philippe Quinault. (Muse du Louvre)
The instruments in Lully's music were: five voices of

strings such as dessus (a higher range than soprano),
haute-contre (the instrumental equivalent of the high
tenor voice by that name), taille (baritenor), quinte,
basse), divided as follows: one voice of violins, three
voices of violas, one voice of cello, and basse de viole
(viole, viola da gamba). He also utilized guitar, lute,
archlute, theorbo, harpsichord, organ, oboe, bassoon,
recorder, flute, brass instruments (natural trumpet) and
various percussion instruments (castanets,
timpani).[12]
He is often credited with introducing new instruments

into the orchestra, but this legend needs closer
scrutiny. He continued to use recorders in preference
to the newer transverse flute, and the "hautbois" he
used in his orchestra were transitional instruments,
somewhere between shawms and so-called Baroque oboes.[12]
Lully created French-style opera as a musical genre
(tragdie en musique or tragdie lyrique). Concluding
that Italian-style opera was inappropriate for the
French language, he and his librettist, Philippe
Quinault, a respected playwright, employed the same
poetics that dramatists used for verse tragedies: the
12-syllable "alexandrine" and the 10-syllable "heroic"
poetic 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,
Jean-Baptiste Lully and Philippe Quinault's
were by contrast set to lines of less than 8
opera Alceste being performed in the marble
syllables.[13] Lully also forsook the Italian method of
courtyard at the Palace of Versailles, 1674
dividing musical numbers into separate recitatives and
arias, choosing instead to combine and intermingle
the two, for dramatic effect. He and Quinault also opted for quicker story development, which was
more to the taste of the French public.
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William Christie has summarized the distribution of instruments in Lully's operas: "The orchestra is
easier to reconstitute. In Lully's case, it is made up of strings, winds and sometimes brass. The
strings, or the grand chur written for five parts is distinct from the petit chur, which is the
continuo made up of a handful of players, following the formula inherited from the continuo operas
of post-Monteverdian composers, Antonio Cesti and Francesco Cavalli. The continuo is a supple
formula which minimizes the role of the orchestra, thus favoring the lute, the theorbo and the
harpsichord. It therefore permits variation of color of the recitatives, which sometimes seem of
excessive length."[14]
Lully is credited with the invention in the 1650s of the French overture, a form used extensively in
the Baroque and Classical eras, especially by Johann Sebastian Bach and George Frideric
Hndel.[15]
Lully's works
Sacred music
Lully's grand motets were written for the royal chapel, usually for vespers or for the king's daily
low mass. Lully did not invent the genre, he built upon it. Grand motets often were psalm settings,
but for a time during the 1660s Lully used texts written by Pierre Perrin, a neo-Latin poet. Lully's
petit motets were probably composed for the nuns at the convent of the Assumption, rue SaintHonor.
[6] Motets deux churs pour la
Chapelle du roi, published 1684
Miserere, at court, winter 1664
Plaude laetare, text 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, grand motet, 1687
Jubilate Deo, grand motet, 1660?

Notus in Judea Deux, grand motet
O lacrymae, grand motet, text by Perrin, at
Versailles, 1664
Quare fremuerunt, grand motet, at
Versailles, April 19, 1685
Petits motets: Anima Christi; Ave coeli
manus, text by 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 and composing for court ballets, the genre blossomed and markedly
changed in character. At first, as composer of instrumental music for the King's chamber, Lully
wrote overtures, dances, dance-like songs, descriptive instrumental pieces such as combats, and
parody-like rcits with Italian texts. He was so captivated by the French overture that he wrote four
of them for the Ballet dAlcidiane!
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The development of his instrumental style can be discerned in his chaconnes. He experimented
with all types of compositional devices and found new solutions that he later exploited to the full in
his operas. For example, the chaconne that ends the Ballet de la Raillerie (1659) has 51 couplets
plus an extra free part; in Le Bourgeois gentilhomme (1670) he added a vocal line to the chaconne
for the Scaramouches.
The first menuets appear in the Ballet de la Raillerie (1659) and the Ballet de l'Impatience (1661).
In Lully's ballets one can also see the emergence of concert music, for example, pieces for voice
and instruments that could be excerpted and performed alone and that prefigure his operatic airs:
"Bois, ruisseau, aimable verdure" from the Ballet des saisons (1661), the lament "Rochers, vous
tes sourds" and Orpheus's sarabande "Dieu des Enfers", from the Ballet de la naissance de Vnus
(1665).
Ballet du Temps, text by Benserade, at
Louvre, November 30, 1654
Ballet des plaisirs, text by Benserade, at
Louvre, February 4, 1655
Le Grand Ballet des Bienvenus, text by
Benserade, at Compigne, May 30, 1655
Le Ballet de la Revente des habits, text by
Benserade, at court, January 6, 1655 (or
1661?)
Ballet of Psych ou de la puissance de
l'Amour, text by Benserade, at Louvre,
January 16, 1656
La Galanterie du temps, mascarade,
anonymous text, February 14, 1656
L'Amour malade, text by Buti, at 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 ballet entres serving as intermdes to
Cavalli's Xerse, at Louvre, November 22,
1660
Ballet mascarade donn au roi Toulouse,
April 1660
Ballet royal de l'impatience, text 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,
February 7, 1662
Ballet des Arts, text by Benserade, at
Palais-Royal, January 8, 1663
Les Noces du village, mascarade ridicule,
text by Benserade, at Vincennes, October
3, 1663
Les Amours dguiss, text by Prigny, at
Palais-Royal, February 13, 1664
incidental music between the acts of
Oedipe, play by Pierre Corneille,
Fontainebleau, August 3, 1664
Mascarade du Capitaine ou l'Impromptu
de Versailles, anonymous text, at PalaisRoyal, 1664 or February1665
Ballet royal de la Naissance de Vnus, text
by Benserade, at Palais-Royal, January 26,
1665
Ballet des Gardes ou des Dlices de la
campagne, anonymous text, 1665
Le Triomphe de Bacchus, mascarade,
anonymous text, at court, January 9, 1666
Ballet des Muses, Benserade, at
St-Germain-en-Laye, 1666
Le Carneval, mascarade, text by
Benserade, at Louvre, January 18, 1668
Ballet royal de Flore, text by Benserade, at
Tuileries, February 13, 1669
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Le Triomphe de l'Amour, text by

Benserade and Quinault, at St-Germainen-Laye, December 2, 1681
Le Temple de la Paix, text by Quinault, at

Fontainebleau, October 20, 1685
Music for the theater (intermdes)

Intermdes became part of a new genre, the comdie-ballet, in 1661, when Molire described them
as "ornaments which have been mixed with the comedy" in his preface to Les Fcheux.[16] "Also,
to avoid breaking the thread of the piece by these interludes, it was deemed advisable to weave the
ballet in the best manner one could into the subject, and make but one thing of it and the play."[17]
The music for the premiere of Les Fcheux was composed by Pierre Beauchamps, but Lully later
provided a sung courante for Act I, scene 3.[18] With Le Mariage forc and La Princesse dlide
(1664), intermdes by Lully began to appear regularly in Molire's plays: for those performances
there were six intermdes, two at the beginning and two at the end, and one between each of the
three acts. Lully's intermdes reached their apogee in 16701671, with the elaborate incidental
music he composed for Le Bourgeois gentilhomme and Psych. After his break with Molire, Lully
turned to opera; but he collaborated with Jean Racine for a fete at Sceaux in 1685, and with
Campistron for an entertainment at Anet in 1686.
Most of Molire's plays were first performed for the royal court.
Les Fcheux, play by Molire, at Vaux-leVicomte, August 17, 1661[19]
Le Mariage forc, ballet, play by Molire,
at Louvre, January 29, 1664
Les Plaisirs de l'Ile enchante, play by
Molire, at Versailles, May 712, 1664
L'Amour mdecin, comedy, play by
Molire, at Versailles, September 14, 1667
La Pastorale comique, play by Molire, at
St-Germain-en-Laye, January 5, 1667
Le Sicilien, play by Molire, at
St-Germain-en-Laye, February 14, 1667
Le Grand Divertissement royal de
Versailles (Georges Dandin), play by
Molire, at Versailles, August 18, 1668
La Grotte de Versailles, eclogue in music,
play by Quinault, April (?) 1668
Le Divertissement de Chambord
(Monsieur de Pourceaugnac), play by
Molire, at Chambord, October 6, 1669
Le Divertissement royal (Les Amants

magifiques), play by Molire, at
St-Germain-en-Laye, February 7, 1670
Le Bourgeois gentilhomme, comedy ballet,
play by Molire, at Chambord, October
14, 1670
Psych, tragi-comedy, Molire, play by
Pierre Corneille and Quinault, at the
Tuileries, January 17, 1671
Les Ftes de l'Amour et de Bacchus,
pastoral, text by Quinault, Molire and
Prigny, at the tennis court (jeu de paume)
of Bel-Air, November 15 (?), 1672
Idylle sur la Paix, text by Racine, at
Sceaux, July 16, 1685
Acis et Galate, pastoral, text by
Campistron, chateau of Anet, September 6,
1686
Operas (tragedies in music)
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Lully's operas were described as "tragedies in music" (tragdies

en musique). The point of departure was a verse libretto, in
most cases by the verse dramatist Philippe Quinault. For the
dance pieces, Lully would hammer out rough chords and a
melody on the keyboard, and Quinault would invent words. For
the recitative, Lully imitated the speech melodies and dramatic
emphasis used by the best actors in the spoken theater. His
attentiveness to transferring theatrical recitation to sung music
shaped French opera and song for a century.[20]
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 the focus was on drama, expressed by a
Lully's coat of arms
variety of vocal forms: monologs, airs for two or three voices,
rondeaux and French-style da capo airs where the chorus
alternates with singers, sung dances, and vaudeville songs for a
few secondary characters. In like manner the chorus performed in several combinations: the entire
chorus, the chorus singing as duos, trios or quartets, the dramatic chorus, the dancing chorus.
The intrigue of the plot culminated in a vast tableau, for example, the sleep scene in Atys, the
village wedding in Roland, or the funeral in Alceste. Soloists, chorus and dancers participated in
this display, producing astonishing effects thanks to machinery. In contrast to Italian opera, the
various instrumental genres were present to enrich the overall effect: French overture, dance airs,
rondeaux, marches, "simphonies" that painted pictures, preludes, ritournelles. Collected into
instrumental suites or transformed into trios, these pieces had enormous influence and affected
instrumental music across Europe.
The earliest operas were performed at the indoor Bel Air tennis court (on the grounds of the
Luxembourg Palace) that Lully had converted into a theater. The first performance of later operas
either took place at court, or in the theater at the Palais-Royal, which had been made available to
Lully's Academy. Once premiered at court, operas were performed for the public at the PalaisRoyal.
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 by Quinault, at tennis court (jeu de paume) of
Bel-Air, January 19, 1675
Thse, tragedy by Quinault, at St-Germain-en-Laye, January 11, 1675
Atys, tragedy by Quinault, at St-Germain-en-Laye, January 10, 1676
Isis, tragedy by Quinault ornamented by ballet entres, at St-Germain-en-Laye, January 5,
1677
Psych, tragedy by Quinault, Thomas Corneille and Fontanelle, at Palais-Royal, April 19,
1678
Bellrophon, tragedy by Thomas Corneille, Fontenelle and Boileau, at Palais-Royal, January
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31, 1679
Proserpine, tragedy by Quinault ornamented with ballet entres, at St-Germain-en-Laye,
February 3, 1680
Perse, tragedy by Quinault, at Palais-Royal, April 18, 1682
Phaton, tragedy by Quinault, at Versailles, January 6, 1683
Amadis, tragedy by Quinault, at Palais-Royal, January 18, 1684
Roland, tragedy by Quinault, at Versailles (Grande curie), January 8, 1685
Armide, tragedy by Quinault, 1686
Achille et Polyxne, tragedy by Campistron, completed by Colasse, at Palais-Royal,
November 7 (or 23), 1687
Depictions in fiction
Henry Prunires's 1929 novel La Vie illustre et libertine de Jean-Baptiste Lully (Paris: Plon)
was the first 20th-century novel about Lully that raised supposed questions about the
composer's "moral character."
Grard Corbiau's 2000 film Le Roi danse (The King is dancing) presents libertine and pagan
Lully as a natural ally of the early Enlightenment figure Louis XIV in his conflicts with the
Catholic establishment and depicts Lully with a concealed romantic interest in the king.
In 2011 the BBC's hit children's show Horrible Histories featured the death of Lully in the
skit "Stupid Deaths" in a live show at the Prom.
Notes
1. La Gorce, Lully, pp. 2122; Le Cerf de la Viville, Comparison de la musique italienne et de la musique
franoise, Brussels, 1705, II, p. 183.
2. La Gorce, pp. 2327. Le Cerf, II, p. 184, erred in saying he was a sous-marmiton, a kitchen worker.
3. La Gorce, pp. 3056; Le Cerf de La Viville, II, pp. 18485.
4. La Gorce, p. 56; compare this statement made by Mademoiselle herself with Le Cerf de La Viville's
comic and probably apocryphal tale, II, pp. 18586.
5. La Gorce, pp. 105108, 129131.
6. La Gorce, pp. 2829, 115119.
7. La Gorce, pp. 8891; and for the Petits Violons and the Grands Violons, see Bernard Bardet's articles in
Marcelle Benoit, Dictionnaire de la musique en France au XVIIe et XVIIIe sicles (Paris: Fayard, 1992),
pp. 724728.
8. La Gorce, pp. 309313, 339340.
9. La Gorce, pp. 340354.
10. Anthony, James R.; Hitchcock, H. Wiley; Sadler, Graham (1986). The New Grove French Baroque
Masters: Lully, Charpentier, Lalande, Couperin, Rameau. W. W. Norton & Company. p. 16.
ISBN 0393022862.
11. Maximilien Titon du Tillet, Le Parnasse franois, ed. of Paris, 1732, pp. 393401.
12. For Lully's orchestra, see John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an
Institution, 16501815. Chapter 3, "Lully's Orchestra"
13. Ranum, Harmonic Orator, passim.
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14. An interview of 2009: http://misterioabierto.blogspot.com/2009/09/william-christie-4.html

15. Waterman, George Gow, and James R. Anthony. 2001. "French Overture". The New Grove Dictionary of
Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan
Publishers.
16. Preface to Les Fcheux by Molire (http://gallica.bnf.fr/ark:/12148/btv1b86107890
/f22.image.r=.langEN): "ornements qu'on a mls avec la comdie."
17. Preface to Les Fcheux by Molire (http://gallica.bnf.fr/ark:/12148/btv1b86107890
/f23.image.r=.langEN): "De sorte que pour ne point rompre aussi le fil de la Pice, par ces manires
d'intermedes, on s'avisa de les coudre au sujet du mieux que l'on put, & de ne faire qu'une seule chose du
Ballet & de la Comedie". English translation from Henri Van Laun, The Dramatic Works of Molire, vol.
2, 1875, OCLC 745054 (https://www.worldcat.org/oclc/745054).
18. Powell 2000, p. 153.
19. Lully provided a single courante for this work (Powell 2000, p. 153).
20. Le Cerf de La Viville, II, p. 204, 212, 215, 218219, 223224; Patricia M. Ranum, The Harmonic
Orator (Pendragon, 2001), pp. 3, 3435.
Further reading
Couvreur, ManuelJean-Baptiste Lully, Musique et dramaturgie au service du prince
([Brussels] Marc Voker, [1992]).
Green, Robert A. (2002). "Lully, Jean-Baptiste". glbtq Encyclopaedia. glbtq.com. Retrieved
16 August 2007.
Heyer, John Hajdu, ed. (2000). Lully Studies. Cambridge, UK: Cambridge University Press.
ISBN 0-521-62183-6.
La Gorce, Jrme de, Jean-Baptiste Lully (Paris: Fayard, 2002).
La Gorce, Jrme de, L'Opra Paris au temps de Louis XIV, histoire d'un thtre (Paris:
Desjonqures, 1992).
Norman, Buford, Touched by the Graces, the Libretti of Philippe Quinault in the Context of
French Classicism (Birmingham, AL: Summa, 2001).
Powell, John S. (2000). Music and Theatre in France, 16001680. Oxford: Oxford University
Press. ISBN 9780198165996.
Sadie, Stanley; Rosow, Lois (1992). "Lully, Jean-Baptiste". The New Grove Dictionary of
Opera. London: Macmillan. ISBN 0-333-73432-7.
Schneider, Herbert, "Lully (les)", in Marcelle Benoit, ed., Dictionnaire de la musique en
France au XVIIe et XVIIIe sicles (Paris: Fayard, 1992), pp. 414419.
Scott, R.H.F. (1973). Jean-Baptiste Lully. London: Peter Owen Limited.
ISBN 0-7206-0432-X.
Tula, Giannini, The Music Library of Jean-Baptiste Christophe Ballard, Sole Music Printer to
the King of France, 1750 Inventory of his Grand Collection Brought to Light
(http://mysite.pratt.edu/~giannini/ballard.htm), Pratt Institute
External links
Media related to Jean-Baptiste Lully at Wikimedia Commons
10/4/2016 5:17 PM
11 of 11
Free scores by Jean-Baptiste Lully in the Choral Public

Wikisource has the text
Domain Library (ChoralWiki)
of an 1879 American
Free scores by Jean-Baptiste Lully at the International
Cyclopdia article
Music Score Library Project
about Jean-Baptiste
Lully.
The Mutopia Project has compositions by Jean-Baptiste
Lully (http://www.mutopiaproject.org/cgibin/maketable.cgi?Composer=LullyJB)
Jean-Baptiste Lully Collection (http://www.digital.library.unt.edu/browse/department/music
/jblc/) at the University of North Texas
Bibliothque Nationale de France (http://gallica.bnf.fr/) has a collection of autographs
available on-line.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Jean-Baptiste_Lully&
oldid=740076151"
Categories: 1632 births 1687 deaths 17th-century classical composers
17th-century French people 17th-century Italian people Baroque composers Bisexual men
Bisexual musicians French classical composers French male classical composers
French people of Italian descent French ballet composers Italian classical composers
Italian emigrants to France LGBT composers LGBT musicians from France Molire
French opera composers Italian opera composers Opera managers People from Florence
17th-century LGBT people Deaths from gangrene
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10/4/2016 5:17 PM

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Jean-Baptiste Lully - Wikipedia, the free encyclopedia