Jean-Baptiste Lully or Lulli. French composer of Italian origin.

Son of a miller Tuscan, Lorenzo Lulli, and from Catarina LED Sixthly, Jean-Baptiste Lully was going to occupy the high positions of the musical world at the court of Louis XIV, to become, in 1672, “director of all the theater in music”.

He began his career of musician while playing of the guitar in Casa Legrenzi. It is there that the duke of Own way noticed it, before making it enter like “boy of room” in his cousin, Miss de Montpensier, who wished to learn Italian.

At the end of the Sling, it passed to the service of the young person Louis XIV as violonist and dancer, and was named in 1653 composer of the instrumental music. The first part of its career was devoted to the ballet music, and, if he wrote vocal parts, those will be only specifically Italian. Superintendent and composer of the room in 1661, it was made naturalize and married the following year the girl of the Lambert composer. From 1664, while giving to the great ballets of court a broadth and a homogeneity larger than ever, he collaborated with Molière, with who he was to create the comedy-ballet. In 1671, with Molière, Corneille and Quinault, it gave the lyric tragedy Psyché, ultimate stage towards the French opera, of which he is the inventor, just like he was to it French opening.  

In 1672, Louis XIV named it directing of “all the theater in music”, which gave him a power unlimited on the whole of the lyric music of the kingdom and allowed him to oust Marc-Antoine Charpentier. He will create each year a new opera then, under the generic title of lyric tragedy. He died in 1687, following a blow of cane which he had given himself on a foot by striking the measurement of Te Deum sung for the cure of the king.

Its collaboration with Molière (interludes of the Forced marriage, 1664; love doctor, 1665; from the Middle-class gentleman, 1670, etc) and with Racine (Idyll on Peace, 1685) led it to conceive a music which followed very close the French prosody, whereas the Italian style privileged the melody line.

Thus, it introduced into its operas the recitative, simple or accompanied (Amadis de Gaulle, 1684; Armide, 1686). The choruses took at his place a significant importance in the infernal scenes spell-bindings and, or in the entertainments conclusive (Isis, 1677; Proserpine, 1680).

Lully is the author of about ten operas, of about thirty ballets (certain writings in collaboration), of instrumental music and vocal (Motets with two choruses for the vault of the roy, 1684).