RESUME

Name: Jean Baptiste Lully

Date-of-Birth: 1632

Age: 55

Sex: Male

Nationality: Italian-born (French Nationality from 1681)

Communication: Italian and French

Work In 1646, entering Mlle de Montpensier service in France and becoming her string
Experience: member and teaching Italian. (at age

In 1653, joining the court violin ensemble of Louis XIV soon becoming a composer of
dance music to the king and chief of the newly established Petit-Violons du Roi (The
King’s Violins).

In 1658, starting compose music for the court ballets.

From 1661, holding royal appointments as musical composer to the king.

From 1652, becoming a music master to the royal family

From 1664 to 1670, collaborating with Molière, (French actor and playwright, the
greatest of all writers of French comedy), in the comédie-ballet.

From 1672, collaborating with the librettist Philippe Quinault on operatic and ballet
works.

In 1681, appointing the position one of the secrétaires du roi (royal secretary).

Acquiring the patents of operatic production from Pierre Perrin and Robert Cambert
and by 1674 no opera could be performed anywhere in France without my
 permission.

Strengths: Skillfulness in several field: playing violin, dancing, conducting, composing.

My French opera style was hold as a model for one century in France. My writing
style also spread to England. Music in England was significantly influenced by me.

Charles I sent his musicians to France to study how to follow my style.

Achievements 1. I am very much favored at the French court. I was appointed as Superintendent of
Music before reaching the age of 30, and Director of Academie Royale de Musique in
1672. I achieved monopoly over French opera and eliminated any possible rivals in
this field. By 1674, no opera could by performed anywhere in France without my
permission.

2. I created tragédie lyrique and comédie-ballet. Tragédie lyrique, which also call as
tragédie en musique is an opera genre. The story of this opera genre usually based
on classical mythology or the Italian romantic epics of Tasso and Ariosto. The stories
don’t always have a tragic ending, but the atmosphere throughout the work is noble
and stately. A tragédie en musique usually has five acts. Comédie-ballet is a
combination of ballet, theater, comedy and incidental music.

3. I established the form of French overture. I also write accompanied recitative

noted for its great rhythmic freedom and careful word setting. I discovered a style of
declamation that was suitable for French language; hence the French opera acquired
more continuity.

4. I caused a revolution in the court’s dance style. Before my music was being played,
the style of the dances of the court is slower movement. I introduced lively ballets of
fast rhythm, dances such as gavottes, menuets, rigaudons and sarabande.