Jean-Baptiste Lully, court composer to Louis XIV, served as the principal architect of what would become known as the French style of music in the baroque era.
Jean-Baptiste Lully, court composer to Louis XIV, served as the principal architect of what would become known as the French style of music in the baroque era.
1. Introduction Paul Henry Lang; 2. The first opera in Paris: a study in the politics of art Neal Zaslaw; 3. Michel Lambert and Jean-Baptiste Lully: the stakes of a collaboration Catherine Massif; 4. Chronology and evolution of the grand motet at the court of Louis XFV evidence from the Livres du Rol' and the works of Perrin, the sous-maitres and Lully Lionel Sawkins; 5. The sources of Lully's grands motets John Hajdu Heyer; 6. Some notes on Lully's orchestra Jerome De La Gorce; 7. The Amsterdam editions of Lully's orchestral suites Herbert Schneider; 8. Parnassus revisited: the musical vantage point of Titon du Tiller Julie Ann Sadie; 9. The residences of Monsieur de Lully: a west side story Marcelle Benoit; 10. The geographical spread of Lully's operas during the late seventeenth and early eighteenth centuries: new evidence from the Burets Carl B. Schmidt; 11. How eighteenth-century Parisians heard Lully's operas: the case of Armide's fourth act Lois Rosow; 12. La Mariee: the history of a French court dance Rebecca Harris-Warrick; 13. A re-examination of Rameau's self-borrowings Graham Sadler; 14. A musician's view of the French baroque after the advent of Gluck: Gretry's Les trois rages de l'opera and its context M. Elizabeth C. Bartlet; 15. A bibliography of writings by James R. Anthony Dorman Smith.
1. Introduction Paul Henry Lang; 2. The first opera in Paris: a study in the politics of art Neal Zaslaw; 3. Michel Lambert and Jean-Baptiste Lully: the stakes of a collaboration Catherine Massif; 4. Chronology and evolution of the grand motet at the court of Louis XFV evidence from the Livres du Rol' and the works of Perrin, the sous-maitres and Lully Lionel Sawkins; 5. The sources of Lully's grands motets John Hajdu Heyer; 6. Some notes on Lully's orchestra Jerome De La Gorce; 7. The Amsterdam editions of Lully's orchestral suites Herbert Schneider; 8. Parnassus revisited: the musical vantage point of Titon du Tiller Julie Ann Sadie; 9. The residences of Monsieur de Lully: a west side story Marcelle Benoit; 10. The geographical spread of Lully's operas during the late seventeenth and early eighteenth centuries: new evidence from the Burets Carl B. Schmidt; 11. How eighteenth-century Parisians heard Lully's operas: the case of Armide's fourth act Lois Rosow; 12. La Mariee: the history of a French court dance Rebecca Harris-Warrick; 13. A re-examination of Rameau's self-borrowings Graham Sadler; 14. A musician's view of the French baroque after the advent of Gluck: Gretry's Les trois rages de l'opera and its context M. Elizabeth C. Bartlet; 15. A bibliography of writings by James R. Anthony Dorman Smith.
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