Page 72 - (DK) The Classical Music Book - Big Ideas Simply Explained
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LULLY MERITS WITH
GOOD REASON THE
TITLE OF PRINCE OF
FRENCH MUSICIANS
LE BOURGEOIS GENTILHOMME (1670),
JEAN-BAPTISTE LULLY
he 1670 comédie-ballet grandeur, is told through a mixture
IN CONTEXT Le bourgeois gentilhomme, of spoken dialogue written by
T devised by the French Molière, interspersed with lively
FOCUS composer Jean-Baptiste Lully and orchestral interludes and dances
French Baroque
the playwright and actor Molière, by Lully. The choruses and solo
BEFORE represents the high point of this arias were the work of both men.
1626 Les vingt-quatre violons specifically French genre. It was
du roi, the King’s orchestra, the culmination of a series of Dramatic skill
is founded—an ensemble in comedy-ballets by the two men Lully was a skilled musician,
which Lully later performs. who were known as Les deux dancer, and actor, and this is
Baptistes (Molière’s real name evident in his compositions.
1647 The premiere is held of being Jean Baptiste Poquelin). The Instead of merely accompanying
Luigi Rossi’s opera Orpheus, comédie-ballet genre mixed spoken the singers, Lully’s orchestra
the first opera commissioned drama with music and dance, enhances the drama of his works,
by the French court. ballet having long been enjoyed commenting on the actions of the
at the court of King Louis XIV. characters and creating a sense
AFTER The story of Le bourgeois of place and occasion. His earlier
1691 Henry Purcell composes gentilhomme, the foolish Monsieur Ballet des Muses (1666) anticipated
his opera King Arthur, with Jourdain, who has delusions of the rise of the concerto, by pitting
“shivering” effects in the solo instrumental passages against
violins, allegedly influenced alternating orchestral responses.
by Lully’s opera Isis. Examples of virtuosity and
complexity are often evident
1693 Marc-Antoine in Le bourgeois gentilhomme,
Charpentier’s opera Médée particularly in the quickfire
is indebted to Lully’s style. I do not believe there is any exchanges between characters,
sweeter music under the
1733 Jean-Philippe Rameau’s heaven than Lully’s. in the whirling violin and flute
Hippolyte et Aricie is the first Madame de Sévigné ornamentations of the Spanish
French opera to depart from French aristocrat (1626–1696) tunes, and in the stately flourishes
Lully’s style and the first of the overture. Over the course of
piece of music to be described five acts, Lully uses every tool at
as “Baroque.” his disposal, from popular dance
forms, such as jigs and minuets,
to drinking songs and even a
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