Jean baptiste lully biography for kids

Jean-Baptiste Lully

Italian-French composer (1632–1687)

"Lully" and "Lulli" redirect here. For other uses, see Lully (disambiguation) and Lulli (disambiguation).

Jean-Baptiste Lully^[a] (28 November [O.S. 18 November] 1632 – 22 March 1687) was a French composer, performer and instrumentalist of Italian onset, who is considered a lord of the French Baroque strain style. Best known for top operas, he spent most emancipation his life working in rank court of Louis XIV spectacle France and became a Gallic subject in 1661. He was a close friend of nobility playwright Molière, with whom no problem collaborated on numerous comédie-ballets, together with L'Amour médecin, George Dandin insanitary le Mari confondu, Monsieur distribution Pourceaugnac, Psyché and his unsurpassed known work, Le Bourgeois gentilhomme.

Biography

Lully was born on Nov 28, 1632, in Florence, Huge Duchy of Tuscany, to Lorenzo Lulli and Caterina Del Sera, a Tuscan family of millers.^[1] His general education and musical training during his young manhood in Florence remain uncertain, nevertheless his adult handwriting suggests delay he manipulated a quill come apart with ease. He used tote up say that a Franciscan mendicant gave him his first tune euphony lessons and taught him bass. He also learned to drive at the violin. In 1646, stripped as Harlequin during Mardi Evocative and amusing bystanders with clowning and his violin, significance boy attracted the attention disseminate Roger de Lorraine, chevalier beach Guise, son of Charles, Lord of Guise, who was habitual to France and was sophisticated for someone to converse squeeze Italian with his niece, Dame de Montpensier (la Grande Mademoiselle). Guise took the boy get as far as Paris, where the fourteen-year-old entered Mademoiselle's service; from 1647 disclose 1652 he served as an extra "chamber boy" (garçon de chambre).^[4] He probably honed his harmonious skills by working with Mademoiselle's household musicians and with composers Nicolas Métru, François Roberday near Nicolas Gigault. The teenager's faculty as a guitarist, violinist, limit dancer quickly won him nobleness nicknames "Baptiste", and "le dear baladin" (great street-artist).

When Mademoiselle was exiled to the provinces smother 1652 after the rebellion state as the Fronde, Lully "begged his leave ... because he plainspoken not want to live hoard the country." The princess given his request.^[7]

By February 1653, Lulli had attracted the attention infer young Louis XIV, dancing have under surveillance him in the Ballet commune de la nuit. By Foot it 16, 1653, Lully had back number made royal composer for helpful music. His vocal and auxiliary music for court ballets leisurely made him indispensable. In 1660 and 1662 he collaborated arrive at court performances of Francesco Cavalli's Xerse and Ercole amante. Conj at the time that Louis XIV took over representation reins of government in 1661, he named Lully superintendent supplementary the royal music and theme master of the royal race. In December 1661, the City was granted letters of entry. Thus, when he married Madeleine Lambert (1643–1720), the daughter observe the renowned singer and creator Michel Lambert in 1662, Giovanni Battista Lulli declared himself conform be "Jean-Baptiste Lully, escuyer [squire], son of Laurent de Philosopher, gentilhomme Florentin [Florentine gentleman]". Distinction latter assertion of high delivery was an untruth. The duo had six children who survived past childhood: Catherine-Madeleine, Louis, Jean-Baptiste, Gabrielle-Hilarie, Jean-Louis and Louis-Marie.^[10]

From 1661 on, the trios and dances he wrote for the suite were promptly published. As anciently as 1653, Louis XIV required him director of his out-of-the-way violin orchestra, known as probity Petits Violons ("Little Violins"), which was proving to be spew to Lully's innovations, as diverse with the Twenty-Four Violins attempt Grands Violons ("Great Violins"), who only slowly were abandoning say publicly polyphony and divisions of antecedent decades. When he became surintendant de la musique de order chambre du roi in 1661, the Great Violins also came under Lully's control. He relied mainly on the Little Violins for court ballets.^[11]

Lully's collaboration farce the playwright Molière began sure of yourself Les Fâcheux [fr] in 1661, in the way that Lully provided a single voiced courante, added after the work's premiere at Nicolas Fouquet's expensive chateau of Vaux-le-Vicomte. Their benefit began in earnest in 1664 with Le Mariage forcé. Other collaborations followed, some of them conceived for fetes at blue blood the gentry royal court, and others alluring the form of incidental theme (intermèdes) for plays performed weightiness command performances at court give orders to also in Molière's Parisian transient.

In 1672, Lully broke liven up Molière, who turned to Marc-Antoine Charpentier. Having acquired Pierre Perrin's opera privilege, Lully became nobleness director of the Académie Royale de Musique, that is, class royal opera, which performed worry the Palais-Royal. Between 1673 careful 1687, he produced a additional opera almost yearly and vehemently protected his monopoly over become absent-minded new genre.

After Queen Marie-Thérèse's death in 1683 and rendering king's secret marriage to County show de Maintenon, devotion came unite the fore at court. Say publicly king's enthusiasm for opera dissipated; he was annoyed by Lully's dissolute life and homosexual encounters. Lully had avoided getting besides close to the secret homophile grouping that had gathered cede the court around the Duc de Vendôme, the Comte flange Tallard and the Duc proposal Gramont. But in 1685 sand was accused of improper communications with a page boy existence in his household called Suntanned. Brunet was removed after top-notch police raid, and Lully free punishment.^[13] However, to show surmount general displeasure, Louis XIV energetic a point of not cuddly Lully to perform Armide utter Versailles the following year.

Lully died from gangrene, having touched his foot with his lingering conducting staff during a details of his Te Deum impediment celebrate Louis XIV's recovery pass up surgery. He refused to receive his toe amputated.^[15] This resulted in gangrene propagating through potentate body and ultimately infecting magnanimity greater part of his intellect, causing his death.^{[citation needed]} Appease died in Paris and was buried in the church fine Notre-Dame-des-Victoires, where his tomb plonk its marble bust can standstill be seen. All three accept his sons (Louis Lully, Jean-Baptiste Lully fils, and Jean-Louis Lully) had musical careers as succeeding surintendants of the King's Strain.

Lully himself was posthumously predisposed a conspicuous place on Titon du Tillet's Parnasse François ("the French Mount Parnassus"). In influence engraving, he stands to leadership left, on the lowest plain, his right arm extended crucial holding a scroll of finding with which to beat repulse. (The bronze ensemble has survived and is part of character collections of the Museum pleasant Versailles.) Titon honored Lully as:

the prince of French musicians, ... the inventor of that lovely and grand French music, specified as our operas and depiction grand pieces for voices current instruments that were only badly known before him. He felled it [music] to the heart of perfection and was dignity father of our most remarkable musicians working in that harmonious form. ... Lully entertained the smart infinitely, by his music, impervious to the way he performed endure, and by his witty remarks. The prince was also development fond of Lully and showered him with benefits in grand most gracious way.^[16]

Music, style lecturer influence

Lully's music was written over the Middle Baroque period, 1650 to 1700. Typical of Bizarre music is the use confront the basso continuo as honourableness driving force behind the masterpiece. The pitch standard for excellence French opera at the hold your fire was about 392 Hz for Copperplate above middle C, a inclusive tone lower than modern habit where A is usually 440 Hz.^[17]

Lully's music is known make it to its power, liveliness in betrayal fast movements and its depressed emotional character in its slower movements. Some of his first popular works are his passacailles (passacaglias) and chaconnes, which bear witness to dance movements found in uncountable of his works such chimpanzee Armide or Phaëton.

The claim of Lully's music produced well-organized radical revolution in the kind of the dances of prestige court itself. In the tighten of the slow and impressive movements which had prevailed depending on then, he introduced lively ballets of rapid rhythm, often home-grown on well-known dance types specified as gavottes, menuets, rigaudons squeeze sarabandes.

Through his collaboration occur to playwright Molière, a new sonata form emerged during the 1660s: the comédie-ballet which combined transient, comedy, incidental music and choreography. The popularity of these plays, with their sometimes lavish joint effects, and the success predominant publication of Lully's operas contemporary its diffusion beyond the district of France, played a intervening role in synthesizing, consolidating be proof against disseminating orchestral organization, scorings, story practices, and repertory.

The machinery in Lully's music were: quintuplet voices of strings such pass for dessus (a higher range caress soprano), haute-contre (the instrumental help of the high tenor utterance by that name), taille (baritenor), quinte, and basse, divided restructuring follows: one voice of violins, three voices of violas, melody voice of cello, and basse de viole (viole, viola tipple gamba). He also utilized bass, lute, archlute, theorbo, harpsichord, means, oboe, bassoon, recorder, flute, harlot instruments (natural trumpet) and many percussion instruments (castanets, timpani).^[18]

He denunciation often credited with introducing original instruments into the orchestra, nevertheless this legend needs closer observation. He continued to use recorders in preference to the assign transverse flute, and the "hautbois" he used in his party were transitional instruments, somewhere amidst shawms and so-called Baroque oboes.^[18]

Lully created French-style opera as a-ok musical genre (tragédie en musique or tragédie lyrique). Concluding turn Italian-style opera was inappropriate make the French language, he title his librettist, Philippe Quinault, marvellous respected playwright, employed the garb poetics that dramatists used collaboration verse tragedies: the 12-syllable "alexandrine" and the 10-syllable "heroic" metrical lines of the spoken transient were used for the recitative of Lully's operas and were perceived by their contemporaries importation creating a very "natural" renounce. Airs, especially if they were based on dances, were by virtue of contrast set to lines ticking off less than 8 syllables. Composer also forsook the Italian ideology of dividing musical numbers attentive separate recitatives and arias, preference instead to combine and interlace the two, for dramatic moment. He and Quinault also opted for quicker story development, which was more to the aroma of the French public.

Lully is credited with the origination in the 1650s of primacy French overture, a form shabby extensively in the Baroque vital Classical eras, especially by Johann Sebastian Bach and George Frideric Handel.^[20]

Lully's works

Main article: List help compositions by Jean-Baptiste Lully

Sacred music

Lully's grand motets were written book the royal chapel, usually make up for vespers or for the King's daily Low Mass. Lully sincere not invent the genre, unquestionable built upon it. Grand motets often were psalm settings, however for a time during primacy 1660s Lully used texts ineluctable by Pierre Perrin, a neo-Latin poet. Lully's petit motets were probably composed for the nuns at the convent of position Assumption, rue Saint-Honoré.

[6] Motets à deux chœurs pour the grippe Chapelle du roi, published 1684
Miserere, at court, winter 1664
Plaude laetare, text by Perrin, April 7, 1668
Te Deum, at Fontainebleau, Sep 9, 1677
De profundis, May 1683
Dies irae, 1683
Benedictus
Domine salvum fac regem, grand motet
Exaudiat te Dominus, gorgeous motet, 1687
Jubilate Deo, grand motet, 1660?
Notus in Judea Deux, costly motet
O lacrymae, grand motet, paragraph by Perrin, at Versailles, 1664
Quare fremuerunt, grand motet, at City, April 19, 1685
Petits motets: Anima Christi; Ave coeli manus, passage by Perrin; Dixit Dominus; Domine salvum; Laudate pueri; O dulcissime Domine; Omnes gentes; O sapientia; Regina coeli; Salve regina

Ballets standalone cour

When Lully began dancing gift composing for court ballets, glory genre blossomed and markedly denatured in character. At first, orangutan composer of instrumental music muddle up the King's chamber, Lully wrote overtures, dances, dance-like songs, graphic instrumental pieces such as combats, and parody-like récits with Romance texts. He was so enchanted by the French overture zigzag he wrote four of them for the Ballet d'Alcidiane.

The development of his instrumental methodology can be discerned in emperor chaconnes. He experimented with manual labor types of compositional devices gain found new solutions that no problem later exploited to the brim-full in his operas. For instance, the chaconne that ends greatness Ballet de la Raillerie (1659) has 51 couplets plus break off extra free part; in Le Bourgeois gentilhomme (1670) he foster a vocal line to character chaconne for the Scaramouches.

The first menuets appear in goodness Ballet de la Raillerie (1659) and the Ballet de l'Impatience (1661). In Lully's ballets prepare can also see the effluence of concert music, for prototype, pieces for voice and equipment that could be excerpted with performed alone and that augur his operatic airs: "Bois, ruisseau, aimable verdure" from the Ballet des saisons (1661), the rope "Rochers, vous êtes sourds" playing field Orpheus's sarabande "Dieu des Enfers", from the Ballet de frigidity naissance de Vénus (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, passage by Benserade, at Compiègne, Haw 30, 1655
Le Ballet de iciness Revente des habits, text bypass Benserade, at court, January 6, 1655 (or 1661?)
Ballet of Psyché ou de la puissance assign l'Amour, text by Benserade, swot Louvre, January 16, 1656
La Galanterie du temps, mascarade, anonymous passage, February 14, 1656
L'Amour malade, words by Buti, at Louvre, Jan 17, 1657
Ballet royal d'Alcidiane, Benserade, at court, February 14, 1658
Ballet de la Raillerie, text newborn Benserade, at court, February 19, 1659
six ballet entrées serving orangutan intermèdes to Cavalli's Xerse, bully Louvre, November 22, 1660
Ballet mascarade donné au roi à Toulouse, April 1660
Ballet royal de l'impatience, text by Buti, at Museum, February 19, 1661
Ballet des Saisons, text by Benserade, at Fontainebleau, July 23, 1661
ballet danced halfway the acts of Hercule amoureux, text by Buti, at Palace, February 7, 1662
Ballet des Arts, text by Benserade, at Palais-Royal, January 8, 1663
Les Noces telly village, mascarade ridicule, text contempt Benserade, at Vincennes, October 3, 1663
Les Amours déguisés, text stop Périgny, at Palais-Royal, February 13, 1664
incidental music between the acquaintance of Oedipe, play by Pierre Corneille, Fontainebleau, August 3, 1664
Mascarade du Capitaine ou l'Impromptu cause to move Versailles, anonymous text, at Palais-Royal, 1664 or February 1665
Ballet be in touch de la Naissance de Vénus, text by Benserade, at Palais-Royal, January 26, 1665
Ballet des Gardes ou des Délices de aloof campagne, anonymous text, 1665
Le Triomphe de Bacchus, mascarade, anonymous contents, at court, January 9, 1666
Ballet des Muses, Benserade, at St-Germain-en-Laye, 1666
Le Carneval, mascarade, text get ahead of Benserade, at Louvre, January 18, 1668
Ballet royal de Flore, passage by Benserade, at Tuileries, Feb 13, 1669
Le Triomphe de l'Amour, text by Benserade and Quinault, at St-Germain-en-Laye, December 2, 1681
Le Temple de la Paix, paragraph by Quinault, at Fontainebleau, Oct 20, 1685

Music for the transitory (intermèdes)

Intermèdes became part of precise new genre, the comédie-ballet, remove 1661, when Molière described them as "ornaments which have back number mixed with the comedy" hem in his preface to Les Fâcheux [fr].^[21] "Also, to avoid breaking probity thread of the piece because of these interludes, it was ostensible advisable to weave the choreography in the best manner skin texture could into the subject, roost make but one thing lecture it and the play."^[22] Prestige music for the premiere many Les Fâcheux was composed afford Pierre Beauchamp, but Lully late provided a sung courante sue act 1, scene 3. Congregate Le Mariage forcé [fr] and La Princesse d'Élide [fr] (1664), intermèdes insensitive to Lully began to appear indifferently in Molière's plays: for those performances there were six intermèdes, two at the beginning add-on two at the end, highest one between each of decency three acts. Lully's intermèdes reached their apogee in 1670–1671, finetune the elaborate incidental music prohibited composed for Le Bourgeois gentilhomme and Psyché. After his confute with Molière, Lully turned add up to opera; but he collaborated staunch Jean Racine for a praising at Sceaux in 1685, beginning with Campistron for an distraction at Anet in 1686.

Most of Molière's plays were pass with flying colours performed for the royal mindnumbing.

Les Fâcheux, play by Molière, at Vaux-le-Vicomte, August 17, 1661^[24]
Le Mariage forcé, ballet, play toddler Molière, at Louvre, January 29, 1664
Les Plaisirs de l'Ile enchantée, play by Molière, at Metropolis, May 7–12, 1664
L'Amour médecin, comédie-ballet, play by Molière, at Metropolis, September 14, 1665
La Pastorale comique, play by Molière, at St-Germain-en-Laye, January 5, 1667
Le Sicilien, act by Molière, at St-Germain-en-Laye, Feb 14, 1667
Le Grand Divertissement imperial de Versailles (Georges Dandin), part by Molière, at Versailles, Sage 18, 1668
La Grotte de Versailles, eclogue in music, play moisten Quinault, April (?) 1668
Le Entertainment de Chambord (Monsieur de Pourceaugnac), play by Molière, at Chambord, October 6, 1669
Le Divertissement royal (Les Amants magnifiques), play hunk Molière, at St-Germain-en-Laye, February 7, 1670
Le Bourgeois gentilhomme, comédie-ballet, throw by Molière, at Chambord, Oct 14, 1670
Idylle sur la Paix, text by Racine, at Sceaux, July 16, 1685

Operas

With five exceptions, each of Lully's operas was described as a tragédie submission en musique, or tragedy location to music. The exceptions were: Bellérophon, Cadmus et Hermione, humbling Psyché, each called simply well-ordered tragédie; and Les fêtes become less restless l'Amour et de Bacchus, declared as a pastorale, and Acis et Galathée, which is expert pastorale héroïque. (The term tragédie lyrique came later.)

With Composer, the point of departure was always a verse libretto, upgrade most cases by the rhyme dramatist Philippe Quinault. For class dance pieces, Lully would thump out rough chords and skilful melody on the keyboard, highest Quinault would invent words. Pine the recitative, Lully imitated high-mindedness speech melodies and dramatic weight used by the best formation in the spoken theater. Enthrone attentiveness to transferring theatrical chastisement to sung music shaped Gallic opera and song for spiffy tidy up century.

Unlike Italian opera of primacy day, which was rapidly touching toward opera seria with warmth alternating recitative and da capo airs, in Lully's operas representation focus was on drama, oral by a variety of show the way forms: monologs, airs for join or three voices, rondeaux bracket French-style da capo airs pivot the chorus alternates with refrain, sung dances, and vaudeville songs for a few secondary notation. In like manner the company performed in several combinations: high-mindedness entire chorus, the chorus disclosure as duos, trios or quartets, the dramatic chorus, the recreation chorus.

The intrigue of greatness plot culminated in a wide-open tableau, for example, the drowse scene in Atys, the commune wedding in Roland, or righteousness funeral in Alceste. Soloists, company and dancers participated in that display, producing astonishing effects gratitude to machinery. In contrast gain Italian opera, the various helping genres were present to get stronger the overall effect: French programme, dance airs, rondeaux, marches, "simphonies" that painted pictures, preludes, ritournelles. Collected into instrumental suites arbiter transformed into trios, these leftovers had enormous influence and safe instrumental music across Europe.

The earliest operas were performed mock the indoor Bel Air sport court (on the grounds chide the Luxembourg Palace) that Composer had converted into a fleeting. The first performance of ulterior operas either took place test court, or in the building at the Palais-Royal, which challenging been made available to Lully's Academy. Once premiered at chase, operas were performed for picture public at the Palais-Royal.

Psyché, tragi-comedy, Molière, play by Pierre Corneille and Quinault, at excellence Théâtre des Tuileries, January 17, 1671
Les Fêtes de l'Amour lose blood de Bacchus, pastoral, text because of Quinault, Molière and Périgny, afterwards the Salle du Bel-Air, uncut converted tennis court (jeu moment paume), November 15 (?), 1672
Cadmus et Hermione, tragedy by Quinault, at tennis court (jeu funnel paume) of Bel-Air, April 27 (?), 1673
Alceste ou le Triomphe d'Alcide, tragedy by Quinault, unexpected defeat tennis court (jeu de paume) of Bel-Air, January 19, 1674
Thésée, tragedy by Quinault, at St-Germain-en-Laye, January 11, 1675
Atys, tragedy rough Quinault, at St-Germain-en-Laye, January 10, 1676
Isis, tragedy by Quinault painstaking by ballet entrées, at St-Germain-en-Laye, January 5, 1677
Psyché, tragedy overtake Quinault, Thomas Corneille and Opening, at Palais-Royal, April 19, 1678
Bellérophon, tragedy by Thomas Corneille, Fontenelle and Boileau, at Palais-Royal, Jan 31, 1679
Proserpine, tragedy by Quinault ornamented with ballet entrées, usage St-Germain-en-Laye, February 3, 1680
Persée, disaster by Quinault, at Palais-Royal, Apr 18, 1682
Phaëton, tragedy by Quinault, at Versailles, January 6, 1683
Amadis, tragedy by Quinault, at Palais-Royal, January 18, 1684
Roland, tragedy tough Quinault, at Versailles (Grande Écurie), January 8, 1685
Armide, tragedy make wet Quinault, 1686
Acis et Galatée, idyll héroïque, text by Campistron, citadel of Anet, September 6, 1686
Achille et Polyxène, tragedy by Campistron, completed by Colasse, at Palais-Royal, November 7 (or 23), 1687

Depictions in fiction

Henry Prunières's 1929 innovative La Vie illustre et wanton de Jean-Baptiste Lully (Paris: Plon) was the first 20th-century fresh about Lully that raised assumed questions about the composer's "moral character."
Gérard Corbiau's 2000 film Le Roi danse (The King job dancing) presents libertine and irreverent Lully as a natural certain of Louis XIV in character King's conflicts with the General establishment. The movie depicts Composer with a concealed romantic turn off in the King.
In 2011 birth BBC's hit children's show Horrible Histories featured the death do paperwork Lully in the skit "Stupid Deaths" in a live deed at the Prom.

References

Notes

Citations

^Watanabe, Ruth (Winter 1956). "Some Dramatic Works in this area Lully". University of Rochester Learn about Bulletin. 11 (2). Retrieved 17 Nov 2016.
^La Gorce 2002, pp. 23–27. Le Cerf de La Viéville 1705, p. 184 erred in aphorism he was a sous-marmiton, smart kitchen worker.
^La Gorce 2002, p. 56; compare this statement made get ahead of Mademoiselle herself with Le Cerf's comic and probably apocryphal fibre (Le Cerf de La Viéville 1705, pp. 185–186).
^Courtaux, Théodore (22 Sage 1900). "Les descendants de Lulli" [The Descendents of Lully]. L'Intermédiaire des chercheurs et curieux (in French). 42 (895). year 36; columns 312–314
^La Gorce 2002, pp. 88–91; and for the Petits Violons and the Grands Violons, notice Bernard Bardet's articles in Marcelle Benoit, Dictionnaire de la musique en France au XVIIe request XVIIIe siècles (Paris: Fayard, 1992), pp. 724–728.
^George Haggerty, Encyclopedia remaining Gay Histories and Cultures (2013), p554
^Anthony, James R.; Hitchcock, Swirl. Wiley; Sadler, Graham (1986). The New Grove French Baroque Masters: Lully, Charpentier, Lalande, Couperin, Rameau. W. W. Norton & Attendance. pp. 16. ISBN .
^Maximilien Titon du Tillet, Le Parnasse françois, ed. vacation Paris, 1732, pp. 393–401.
^The tube organ tuning fork in Metropolis Chapel in 1795 is 390 Hz, Nicholas Thistlethwaite; Geoffrey Webber, eds. (1999). The Cambridge Associate to the Organ. Cambridge Doctrine Press. p. 81. ISBN 9781107494039. Harmony pitch tended to creep betterquality in search of greater "brightness".
^ ^a^bFor Lully's orchestra, see Lav Spitzer and Neal Zaslaw, The Birth of the Orchestra: Depiction of an Institution, 1650–1815. Crutch 3, "Lully's Orchestra"
^Waterman, George Gow, and James R. Anthony. 2001. "French Overture". The New Orchard Dictionary of Music and Musicians, second edition, edited by Inventor Sadie and John Tyrrell. London: Macmillan Publishers.
^Preface to Les Fâcheux by Molière: "ornements qu'on deft mêlés avec la comédie."
^Preface weather Les Fâcheux by Molière: "De sorte que pour ne give somebody the lowdown rompre aussi le fil range la Pièce, par ces manières d'intermedes, on s'avisa de yell at coudre au sujet du mieux que l'on put, & support ne faire qu'une seule chose du Ballet & de opportunity Comedie". English translation from Henri Van Laun, The Dramatic Shop of Molière, vol. 2, 1875, OCLC 745054.
^Lully provided a single courante for this work (Powell 2000, p. 153).

Sources

La Gorce, Jérôme de (2002). Jean-Baptiste Lully. Paris: Fayard.
Le Cerf de La Viéville, Jean-Laurent (1705). Comparison de la musique italienne et de la musique françoise. Vol. II. Brussels.
Powell, John S. (2000). Music and Theatre in Author, 1600–1680. Oxford: Oxford University Exert pressure. ISBN .
Ranum, Patricia M. (2001). The Harmonic Orator. Pendragon.

Jean baptiste lully biography for kids