Louis Lully
Encyclopedia
Louis Lully was a French musician and the eldest son of Jean-Baptiste Lully
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Nearly disinherited by his father following dissolute behaviour and imprisonment, Louis did not have the brilliant career anticipated for him, not only because of his behaviour but also for lack of talent. What success he had as an opera composer was mostly down to works written in collaboration with others. For example, he collaborated with his brother Jean-Louis
and Pierre Vignon on Zéphire et Flore (ballet, 1688), and with Marin Marais
on Alcide (tragédie lyrique, 1693). The one work he composed on his own, Orphée (tragédie lyrique, 1690), was badly received when it was performed, though historians find it important for the prominence given in it to accompanied recitative (La Gorce 2001).
Jean-Baptiste Lully
Jean-Baptiste de Lully was an Italian-born French composer who spent most of his life working in the court of Louis XIV of France. He is considered the chief master of the French Baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in...
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Nearly disinherited by his father following dissolute behaviour and imprisonment, Louis did not have the brilliant career anticipated for him, not only because of his behaviour but also for lack of talent. What success he had as an opera composer was mostly down to works written in collaboration with others. For example, he collaborated with his brother Jean-Louis
Jean-Louis Lully
Jean-Louis Lully was a French musician and composer. He was born in Paris, the youngest son of Jean-Baptiste Lully....
and Pierre Vignon on Zéphire et Flore (ballet, 1688), and with Marin Marais
Marin Marais
Marin Marais was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for 6 months. He was hired as a musician in 1676 to the royal court of Versailles...
on Alcide (tragédie lyrique, 1693). The one work he composed on his own, Orphée (tragédie lyrique, 1690), was badly received when it was performed, though historians find it important for the prominence given in it to accompanied recitative (La Gorce 2001).