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1000 tulosta hakusanalla Jean-Baptiste Lully

Jean-Baptiste Lully and the Music of the French Baroque

Jean-Baptiste Lully and the Music of the French Baroque

Cambridge University Press
2008
pokkari
This volume of essays on Jean-Baptiste Lully and his musical legacy honours the distinguished French baroque scholar James R. Anthony. 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. The style he created strongly influenced the great musical figures in England (Purcell and Handel) and Germany (Bach and Telemann), but Lully's music itself has received little attention. Recently, through the efforts of scholars and musicians concerned with the performance practices of Lully's time, Lully's own music has begun to come alive in performance and recording. These essays, all by important baroque specialists, cover significant aspects of Lully's life and works and the French tradition he influenced. They constitute the first post-war collection of studies centred on Lully and form a fitting tribute to Professor Anthony whose own French baroque music provided a stimulus for the work of an emerging generation of scholars.
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Made for the Stage: The Operas of Jean-Baptiste Lully

Made for the Stage: The Operas of Jean-Baptiste Lully

Antonia L. Banducci

Routledge
2023
sidottu
An unrecognized key to understanding the operas of Jean-Baptiste Lully-that Lully conceived his operas as theatrical vehicles with the stage, its multiple aspects, and his Académie Royale de Musique repertory troupe's performers in mind-provides the central tenet of the book Made for the Stage: The Operas of Jean-Baptiste Lully (1673-1686). Over five chapters, this perspective expands our current understanding of how his opera’s librettos were constructed, the deployment of his musico-dramatic settings, his dramatic use of preludes and ritournelles, and spectacle’s role in his works. This stage-centered focus reveals the ramifications of Lully’s unmistakable creative and authoritative involvement in all aspects of his operas and thereby invites scholars, performers and students to consider his works anew. Banducci’s well-developed, persuasive and original argument that Lully and his librettist structured their operas to suit the strengths and weaknesses of particular singers has far-reaching implications.
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