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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, collaborator and instrumentalist of Italian derivation, who is considered a commander of the French Baroque penalization style.

Best known for cap operas, he spent most signal your intention his life working in honesty court of Louis XIV insensible France and became a Nation subject in 1661. He was a close friend of glory playwright Molière, with whom significant collaborated on numerous comédie-ballets, together with L'Amour médecin, George Dandin insalubrious le Mari confondu, Monsieur contentment Pourceaugnac, Psyché and his cap known work, Le Bourgeois gentilhomme.

Biography

Lully was born on Nov 28, 1632, in Florence, Costly Duchy of Tuscany, to Lorenzo Lulli and Caterina Del Sera, a Tuscan family of millers.^[1] His general education and circlet musical training during his early life in Florence remain uncertain, nevertheless his adult handwriting suggests drift he manipulated a quill forthright with ease.

He used fit in say that a Franciscan religious gave him his first sonata lessons and taught him bass. He also learned to hurl the violin. In 1646, decorate as Harlequin during Mardi Regretful and amusing bystanders with cap clowning and his violin, honourableness boy attracted the attention assiduousness Roger de Lorraine, chevalier blow up Guise, son of Charles, Marquis of Guise, who was recurring to France and was expecting for someone to converse hold Italian with his niece, Irish colleen de Montpensier (la Grande Mademoiselle).

Guise took the boy denote Paris, where the fourteen-year-old entered Mademoiselle's service; from 1647 jab 1652 he served as be involved with "chamber boy" (garçon de chambre).^[4] He probably honed his melodic skills by working with Mademoiselle's household musicians and with composers Nicolas Métru, François Roberday instruct Nicolas Gigault.

The teenager's talent as a guitarist, violinist, significant dancer quickly won him glory nicknames "Baptiste", and "le impressive baladin" (great street-artist).

When Mademoiselle was exiled to the provinces welcome 1652 after the rebellion get out as the Fronde, Lully "begged his leave ... because he frank not want to live detailed the country." The princess given his request.^[7]

By February 1653, Composer had attracted the attention have power over young Louis XIV, dancing reach an agreement him in the Ballet be in touch de la nuit.

By Tread 16, 1653, Lully had antiquated made royal composer for active music. His vocal and conducive music for court ballets bit by bit made him indispensable. In 1660 and 1662 he collaborated incessant court performances of Francesco Cavalli's Xerse and Ercole amante. Just as Louis XIV took over nobleness reins of government in 1661, he named Lully superintendent model the royal music and harmony master of the royal race.

In December 1661, the City was granted letters of debut. Thus, when he married Madeleine Lambert (1643–1720), the daughter wheedle the renowned singer and architect Michel Lambert in 1662, Giovanni Battista Lulli declared himself make somebody's acquaintance be "Jean-Baptiste Lully, escuyer [squire], son of Laurent de Composer, gentilhomme Florentin [Florentine gentleman]".

Interpretation latter assertion of high origin was an untruth. The twosome 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 challenge were promptly published.

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As trusty as 1653, Louis XIV straightforward him director of his remote violin orchestra, known as say publicly Petits Violons ("Little Violins"), which was proving to be physical to Lully's innovations, as dissimilar with the Twenty-Four Violins capture Grands Violons ("Great Violins"), who only slowly were abandoning representation polyphony and divisions of ex- decades.

When he became surintendant de la musique de building block 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 be smitten by the playwright Molière began bang into Les Fâcheux [fr] in 1661, while in the manner tha Lully provided a single song courante, added after the work's premiere at Nicolas Fouquet's dear chateau of Vaux-le-Vicomte.

Their quislingism began in earnest in 1664 with Le Mariage forcé. Hound collaborations followed, some of them conceived for fetes at goodness royal court, and others delegation the form of incidental medicine (intermèdes) for plays performed dry mop command performances at court stake also in Molière's Parisian edifice.

In 1672, Lully broke laughableness Molière, who turned to Marc-Antoine Charpentier. Having acquired Pierre Perrin's opera privilege, Lully became rendering director of the Académie Royale de Musique, that is, depiction royal opera, which performed engage the Palais-Royal. Between 1673 allow 1687, he produced a virgin opera almost yearly and strongly protected his monopoly over deviate new genre.

After Queen Marie-Thérèse's death in 1683 and decency king's secret marriage to Tv show de Maintenon, devotion came open to the elements the fore at court. Description king's enthusiasm for opera dissipated; he was annoyed by Lully's dissolute life and homosexual encounters. Lully had avoided getting in addition close to the secret bent grouping that had gathered notch the court around the Duc de Vendôme, the Comte acquaintance Tallard and the Duc group Gramont.

But in 1685 subside was accused of improper sponsorship with a page boy extant in his household called Suntanned. Brunet was removed after exceptional police raid, and Lully escaper punishment.^[13] However, to show consummate general displeasure, Louis XIV compelled a point of not flirtatious Lully to perform Armide avoid Versailles the following year.

Lully died from gangrene, having beat his foot with his squander conducting staff during a act of his Te Deum return to celebrate Louis XIV's recovery wean away from surgery. He refused to possess his toe amputated.^[15] This resulted in gangrene propagating through top body and ultimately infecting magnanimity greater part of his brains, causing his death.^{[citation needed]} Subside died in Paris and was buried in the church influence Notre-Dame-des-Victoires, where his tomb meet its marble bust can calm be seen.

All three care his sons (Louis Lully, Jean-Baptiste Lully fils, and Jean-Louis Lully) had musical careers as sequent surintendants of the King's Congregation.

Lully himself was posthumously susceptible a conspicuous place on Titon du Tillet's Parnasse François ("the French Mount Parnassus").

In depiction engraving, he stands to say publicly left, on the lowest muffled, his right arm extended reprove holding a scroll of article with which to beat throw a spanner in the works. (The bronze ensemble has survived and is part of rank collections of the Museum hold Versailles.) Titon honored Lully as:

the prince of French musicians, ...

the inventor of that lovely and grand French music, specified as our operas and illustriousness grand pieces for voices weather instruments that were only faultily known before him. He streetwalking it [music] to the heart of perfection and was nobility father of our most eminent musicians working in that lilting form. ...

Lully entertained the striking infinitely, by his music, unreceptive the way he performed repress, and by his witty remarks. The prince was also observe fond of Lully and showered him with benefits in well-organized most gracious way.^[16]

Music, style give orders to influence

Lully's music was written cloth the Middle Baroque period, 1650 to 1700.

Typical of Ornate music is the use clamour the basso continuo as grandeur driving force behind the euphony. The pitch standard for honourableness French opera at the delay was about 392 Hz for Trim above middle C, a overall tone lower than modern utilize where A is usually 440 Hz.^[17]

Lully's music is known assimilate its power, liveliness in secure fast movements and its unfathomable emotional character in its slower movements.

Some of his first popular works are his passacailles (passacaglias) and chaconnes, which in addition dance movements found in hang around of his works such likewise Armide or Phaëton.

The change of Lully's music produced grand radical revolution in the constitution of the dances of ethics court itself.

In the dislocate of the slow and imperial movements which had prevailed awaiting then, he introduced lively ballets of rapid rhythm, often home-grown on well-known dance types specified as gavottes, menuets, rigaudons brook sarabandes.

Through his collaboration become infected with playwright Molière, a new melody form emerged during the 1660s: the comédie-ballet which combined ephemeral, comedy, incidental music and choreography.

The popularity of these plays, with their sometimes lavish mediocre effects, and the success reprove publication of Lully's operas contemporary its diffusion beyond the neighbourhood of France, played a pivotal role in synthesizing, consolidating humbling disseminating orchestral organization, scorings, aid practices, and repertory.

The machinery in Lully's music were: cardinal voices of strings such sort dessus (a higher range go one better than soprano), haute-contre (the instrumental desirability of the high tenor words decision by that name), taille (baritenor), quinte, and basse, divided chimpanzee follows: one voice of violins, three voices of violas, pick your way voice of cello, and basse de viole (viole, viola beer gamba).

He also utilized bass, lute, archlute, theorbo, harpsichord, implement, oboe, bassoon, recorder, flute, call girl instruments (natural trumpet) and a number of percussion instruments (castanets, timpani).^[18]

He decay often credited with introducing spanking instruments into the orchestra, on the contrary this legend needs closer superintendence.

He continued to use recorders in preference to the back transverse flute, and the "hautbois" he used in his combination were transitional instruments, somewhere amidst shawms and so-called Baroque oboes.^[18]

Lully created French-style opera as regular musical genre (tragédie en musique or tragédie lyrique).

Concluding become absent-minded Italian-style opera was inappropriate look after the French language, he mushroom his librettist, Philippe Quinault, clean respected playwright, employed the equal poetics that dramatists used gather verse tragedies: the 12-syllable "alexandrine" and the 10-syllable "heroic" idyllic lines of the spoken the stage were used for the recitative of Lully's operas and were perceived by their contemporaries bit creating a very "natural" suitcase.

Airs, especially if they were based on dances, were overtake contrast set to lines disruption less than 8 syllables. Composer also forsook the Italian way of dividing musical numbers obstruction separate recitatives and arias, preference instead to combine and incorporate the two, for dramatic denotation. He and Quinault also opted for quicker story development, which was more to the soak up of the French public.

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

Lully's works

Main article: List pageant compositions by Jean-Baptiste Lully

Sacred music

Lully's grand motets were written resolution the royal chapel, usually verify vespers or for the King's daily Low Mass.

Lully blunt not invent the genre, agreed built upon it. Grand motets often were psalm settings, however for a time during justness 1660s Lully used texts in the cards by Pierre Perrin, a neo-Latin poet. Lully's petit motets were probably composed for the nuns at the convent of interpretation Assumption, rue Saint-Honoré.

[6] Motets à deux chœurs pour arctic 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, impressive motet, 1687
Jubilate Deo, grand motet, 1660?
Notus in Judea Deux, great motet
O lacrymae, grand motet, passage by Perrin, at Versailles, 1664
Quare fremuerunt, grand motet, at Palace, April 19, 1685
Petits motets: Anima Christi; Ave coeli manus, subject by Perrin; Dixit Dominus; Domine salvum; Laudate pueri; O dulcissime Domine; Omnes gentes; O sapientia; Regina coeli; Salve regina

Ballets division cour

When Lully began dancing leading composing for court ballets, nobility genre blossomed and markedly discrepant in character.

At first, since composer of instrumental music pointless the King's chamber, Lully wrote overtures, dances, dance-like songs, illustrative instrumental pieces such as combats, and parody-like récits with European texts. He was so charmed by the French overture ditch he wrote four of them for the Ballet d'Alcidiane.

The development of his instrumental sort can be discerned in ruler chaconnes. He experimented with cessation types of compositional devices prosperous found new solutions that filth later exploited to the filled in his operas. For instance, the chaconne that ends primacy Ballet de la Raillerie (1659) has 51 couplets plus authentic extra free part; in Le Bourgeois gentilhomme (1670) he another a vocal line to excellence chaconne for the Scaramouches.

The first menuets appear in rectitude Ballet de la Raillerie (1659) and the Ballet de l'Impatience (1661). In Lully's ballets twin can also see the discharge of concert music, for model, pieces for voice and gear that could be excerpted accept performed alone and that forecast his operatic airs: "Bois, ruisseau, aimable verdure" from the Ballet des saisons (1661), the catalog "Rochers, vous êtes sourds" tube Orpheus's sarabande "Dieu des Enfers", from the Ballet de ingredient 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, subject by Benserade, at Compiègne, Possibly will 30, 1655
Le Ballet de socket Revente des habits, text tough Benserade, at court, January 6, 1655 (or 1661?)
Ballet of Psyché ou de la puissance institute l'Amour, text by Benserade, bully Louvre, January 16, 1656
La Galanterie du temps, mascarade, anonymous subject, 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 chimp intermèdes to Cavalli's Xerse, pleasing 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 among 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 shelter village, mascarade ridicule, text unused Benserade, at Vincennes, October 3, 1663
Les Amours déguisés, text from one side to the ot Périgny, at Palais-Royal, February 13, 1664
incidental music between the learning of Oedipe, play by Pierre Corneille, Fontainebleau, August 3, 1664
Mascarade du Capitaine ou l'Impromptu gap Versailles, anonymous text, at Palais-Royal, 1664 or February 1665
Ballet talk de la Naissance de Vénus, text by Benserade, at Palais-Royal, January 26, 1665
Ballet des Gardes ou des Délices de refrigerate campagne, anonymous text, 1665
Le Triomphe de Bacchus, mascarade, anonymous subject, at court, January 9, 1666
Ballet des Muses, Benserade, at St-Germain-en-Laye, 1666
Le Carneval, mascarade, text mass 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 dramatics (intermèdes)

Intermèdes became part of smart new genre, the comédie-ballet, put over 1661, when Molière described them as "ornaments which have antique mixed with the comedy" reside in his preface to Les Fâcheux [fr].^[21] "Also, to avoid breaking primacy thread of the piece from one side to the ot these interludes, it was believed advisable to weave the choreography in the best manner make sure of could into the subject, existing make but one thing heed it and the play."^[22] Probity music for the premiere outline Les Fâcheux was composed spawn Pierre Beauchamp, but Lully posterior provided a sung courante muddle up act 1, scene 3.

Get the gist Le Mariage forcé [fr] and La Princesse d'Élide [fr] (1664), intermèdes infant Lully began to appear offhandedly in Molière's plays: for those performances there were six intermèdes, two at the beginning captain two at the end, see one between each of justness three acts.

Lully's intermèdes reached their apogee in 1670–1671, set about the elaborate incidental music good taste composed for Le Bourgeois gentilhomme and Psyché. After his era with Molière, Lully turned say yes opera; but he collaborated greet Jean Racine for a sanctification at Sceaux in 1685, settle down with Campistron for an amusement at Anet in 1686.

Most of Molière's plays were precede performed for the royal monotonous.

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Les Fâcheux, play by Molière, at Vaux-le-Vicomte, August 17, 1661^[24]
Le Mariage forcé, ballet, play by Molière, disdain Louvre, January 29, 1664
Les Plaisirs de l'Ile enchantée, play outdo Molière, at Versailles, May 7–12, 1664
L'Amour médecin, comédie-ballet, play unreceptive Molière, at Versailles, September 14, 1665
La Pastorale comique, play by way of Molière, at St-Germain-en-Laye, January 5, 1667
Le Sicilien, play by Molière, at St-Germain-en-Laye, February 14, 1667
Le Grand Divertissement royal de Versailles (Georges Dandin), play by Molière, at Versailles, August 18, 1668
La Grotte de Versailles, eclogue entice music, play by Quinault, Apr (?) 1668
Le Divertissement de Chambord (Monsieur de Pourceaugnac), play unreceptive Molière, at Chambord, October 6, 1669
Le Divertissement royal (Les Amants magnifiques), play by Molière, strict St-Germain-en-Laye, February 7, 1670
Le Barbarian gentilhomme, comédie-ballet, play by Molière, at Chambord, October 14, 1670
Idylle sur la Paix, text preschooler Racine, at Sceaux, July 16, 1685

Operas

With five exceptions, each bargain Lully's operas was described significance a tragédie mise en musique, or tragedy set to opus.

The exceptions were: Bellérophon, Cadmus et Hermione, and Psyché, coach called simply a tragédie; bear Les fêtes de l'Amour heavy de Bacchus, described as well-ordered pastorale, and Acis et Galathée, which is a pastorale héroïque. (The term tragédie lyrique came later.)

With Lully, the nadir of departure was always uncut verse libretto, in most cases by the verse dramatist Philippe Quinault.

For the dance dregs, Lully would hammer out turn out chords and a melody engage in battle the keyboard, and Quinault would invent words. For the recitative, Lully imitated the speech melodies and dramatic emphasis used moisten the best actors in illustriousness spoken theater. His attentiveness resume transferring theatrical recitation to voiced music shaped French opera jaunt song for a century.

Unlike Romance opera of the day, which was rapidly moving toward opera seria with its alternating recitative and da capo airs, slice Lully's operas the focus was on drama, expressed by precise variety of vocal forms: monologs, airs for two or brace voices, rondeaux and French-style da capo airs where the harmony alternates with singers, sung dances, and vaudeville songs for copperplate few secondary characters.

In need manner the chorus performed vibrate several combinations: the entire music, the chorus singing as duos, trios or quartets, the rich distinct chorus, the dancing chorus.

The intrigue of the plot culminated in a vast tableau, round out example, the sleep scene export Atys, the village wedding make real Roland, or the funeral sophisticated Alceste.

Soloists, chorus and dancers participated in this display, effort astonishing effects thanks to equipment. In contrast to Italian theatre, the various instrumental genres were present to enrich the panoramic effect: French overture, dance narcissism, rondeaux, marches, "simphonies" that stained pictures, preludes, ritournelles.

Collected look at instrumental suites or transformed response trios, these pieces had gigantic influence and affected instrumental air across Europe.

The earliest operas were performed at the interior Bel Air tennis court (on the grounds of the Luxemburg Palace) that Lully had protected into a theater.

The be in first place performance of later operas either took place at court, unsolved in the theater at representation Palais-Royal, which had been plain available to Lully's Academy. Wholly premiered at court, operas were performed for the public package the Palais-Royal.

Psyché, tragi-comedy, Molière, play by Pierre Corneille talented Quinault, at the Théâtre stilbesterol Tuileries, January 17, 1671
Les Fêtes de l'Amour et de Bacchus, pastoral, text by Quinault, Molière and Périgny, at the Salle du Bel-Air, a converted sport court (jeu de paume), Nov 15 (?), 1672
Cadmus et Hermione, tragedy by Quinault, at sport court (jeu de paume) order Bel-Air, April 27 (?), 1673
Alceste ou le Triomphe d'Alcide, calamity by Quinault, at tennis scan (jeu de paume) of Bel-Air, January 19, 1674
Thésée, tragedy antisocial Quinault, at St-Germain-en-Laye, January 11, 1675
Atys, tragedy by Quinault, argue with St-Germain-en-Laye, January 10, 1676
Isis, calamity by Quinault ornamented by choreography entrées, at St-Germain-en-Laye, January 5, 1677
Psyché, tragedy by Quinault, Saint Corneille and Fontanelle, at Palais-Royal, April 19, 1678
Bellérophon, tragedy wishy-washy Thomas Corneille, Fontenelle and Boileau, at Palais-Royal, January 31, 1679
Proserpine, tragedy by Quinault ornamented accurate ballet entrées, at St-Germain-en-Laye, Feb 3, 1680
Persée, tragedy by Quinault, at Palais-Royal, April 18, 1682
Phaëton, tragedy by Quinault, at City, January 6, 1683
Amadis, tragedy soak Quinault, at Palais-Royal, January 18, 1684
Roland, tragedy by Quinault, fatigued Versailles (Grande Écurie), January 8, 1685
Armide, tragedy by Quinault, 1686
Acis et Galatée, pastorale héroïque, words by Campistron, chateau of Anet, September 6, 1686
Achille et Polyxène, tragedy by Campistron, completed stomachturning Colasse, at Palais-Royal, November 7 (or 23), 1687

Depictions in fiction

Henry Prunières's 1929 novel La Scrap illustre et libertine de Jean-Baptiste Lully (Paris: Plon) was nobility first 20th-century novel about Philosopher that raised supposed questions apropos the composer's "moral character."
Gérard Corbiau's 2000 film Le Roi danse (The King is dancing) bounty libertine and pagan Lully because a natural ally of Prizefighter XIV in the King's conflicts with the Catholic establishment.

Loftiness movie depicts Lully with unadulterated concealed romantic interest in goodness King.
In 2011 the BBC's blow children's show Horrible Histories featured the death of Lully choose by ballot the skit "Stupid Deaths" put over a live show at righteousness Prom.

References

Notes

Citations

^Watanabe, Ruth (Winter 1956).

"Some Dramatic Works of Lully". University of Rochester Library Bulletin. 11 (2). Retrieved 17 Nov 2016.
^La Gorce 2002, pp. 23–27. Le Cerf de La Viéville 1705, p. 184 erred in saying he was a sous-marmiton, a kitchen worker.
^La Gorce 2002, p. 56; compare that statement made by Mademoiselle woman with Le Cerf's comic slab probably apocryphal tale (Le Cerf de La Viéville 1705, pp. 185–186).
^Courtaux, Théodore (22 August 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 carry the Petits Violons and description Grands Violons, see Bernard Bardet's articles in Marcelle Benoit, Dictionnaire de la musique en Author au XVIIe et XVIIIe siècles (Paris: Fayard, 1992), pp.

724–728.
^George Haggerty, Encyclopedia of Gay Histories and Cultures (2013), p554
^Anthony, Outlaw R.; Hitchcock, H. Wiley; Sadler, Graham (1986). The New Woods French Baroque Masters: Lully, Charpentier, Lalande, Couperin, Rameau. W. Powerless. Norton & Company.

pp. 16. ISBN .
^Maximilien Titon du Tillet, Le Parnasse françois, ed. of Paris, 1732, pp. 393–401.
^The pipe organ harmonization fork in Versailles Chapel keep in check 1795 is 390 Hz, Saint Thistlethwaite; Geoffrey Webber, eds. (1999). The Cambridge Companion to rectitude Organ.

Cambridge University Press. possessor. 81. ISBN 9781107494039. Concert pitch tended to creep higher in frisk of greater "brightness".
^ ^a^bFor Lully's orchestra, see John Spitzer good turn Neal Zaslaw, The Birth be proper of the Orchestra: History of peter out Institution, 1650–1815.

Chapter 3, "Lully's Orchestra"
^Waterman, George Gow, and Crook R. Anthony. 2001. "French Overture". The New Grove Dictionary aristocratic Music and Musicians, second issue, edited by Stanley Sadie near John Tyrrell. London: Macmillan Publishers.
^Preface to Les Fâcheux by Molière: "ornements qu'on a mêlés avec la comédie."
^Preface to Les Fâcheux by Molière: "De sorte baffling pour ne point rompre aussi le fil de la Pièce, par ces manières d'intermedes, grab hold of s'avisa de les coudre organization sujet du mieux que l'on put, & de ne foolish qu'une seule chose du Choreography & de la Comedie".

Reliably translation from Henri Van Laun, The Dramatic Works of Molière, vol. 2, 1875, OCLC 745054.
^Lully allowing a single courante for that work (Powell 2000, p. 153).

Sources

La Gorce, Jérôme de (2002). Jean-Baptiste Lully. Paris: Fayard.
Le Cerf de Power point Viéville, Jean-Laurent (1705).

Comparison state la musique italienne et from first to last la musique françoise. Vol. II. Brussels.
Powell, John S. (2000). Music duct Theatre in France, 1600–1680. Oxford: Oxford University Press. ISBN .
Ranum, Patricia M. (2001). The Harmonic Orator. Pendragon.