Jean Baptiste Lully was a close friend of the playwright Moliere, with whom he collaborated on numerous comedie-ballets, including L'Amour medecin, George Dandin ou le Mari confondu, Monsieur de Pourceaugnac, Psyche and his best known work, Le Bourgeois gentilhomme.
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Jean Baptiste Lully used to say that a Franciscan friar gave him his first music lessons and taught him guitar.
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Jean Baptiste Lully probably honed his musical skills by working with Mademoiselle's household musicians and with composers Nicolas Metru, Francois Roberday and Nicolas Gigault.
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Jean Baptiste Lully relied mainly on the Little Violins for court ballets.
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In 1672 Jean Baptiste Lully broke with Moliere, who turned to Marc-Antoine Charpentier.
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Jean Baptiste Lully died from gangrene, having struck his foot with his long conducting staff during a performance of his Te Deum to celebrate Louis XIV's recovery from surgery.
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Jean Baptiste Lully refused to have his leg amputated so he could still dance.
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Jean Baptiste Lully died in Paris and was buried in the church of Notre-Dame-des-Victoires, where his tomb with its marble bust can still be seen.
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Jean Baptiste Lully himself was posthumously given a conspicuous place on Titon du Tillet's Parnasse Francois.
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Jean Baptiste Lully brought it [music] to the peak of perfection and was the father of our most illustrious musicians working in that musical form.
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Jean Baptiste Lully entertained the king infinitely, by his music, by the way he performed it, and by his witty remarks.
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The prince was very fond of Jean Baptiste Lully and showered him with benefits in a most gracious way.
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Jean Baptiste Lully's music was written during the Middle Baroque period, 1650 to 1700.
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Jean Baptiste Lully's music is known for its power, liveliness in its fast movements and its deep emotional character in its slower movements.
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Influence of Jean Baptiste Lully's music produced a radical revolution in the style of the dances of the court itself.
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Instruments in Jean Baptiste Lully's music were: five voices of strings such as dessus, haute-contre, taille, quinte, and basse, divided as follows: one voice of violins, three voices of violas, one voice of cello, and basse de viole.
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Jean Baptiste Lully utilized guitar, lute, archlute, theorbo, harpsichord, organ, oboe, bassoon, recorder, flute, brass instruments and various percussion instruments.
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Jean Baptiste Lully is often credited with introducing new instruments into the orchestra, but this legend needs closer scrutiny.
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Jean Baptiste Lully continued to use recorders in preference to the newer transverse flute, and the "hautbois" he used in his orchestra were transitional instruments, somewhere between shawms and so-called Baroque oboes.
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Jean Baptiste Lully forsook the Italian method of dividing musical numbers into separate recitatives and arias, choosing instead to combine and intermingle the two, for dramatic effect.
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Jean Baptiste Lully is credited with the invention in the 1650s of the French overture, a form used extensively in the Baroque and Classical eras, especially by Johann Sebastian Bach and George Frideric Handel.
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Grand motets often were psalm settings, but for a time during the 1660s Jean Baptiste Lully used texts written by Pierre Perrin, a neo-Latin poet.
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When Jean Baptiste Lully began dancing and composing for court ballets, the genre blossomed and markedly changed in character.
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At first, as composer of instrumental music for the King's chamber, Jean Baptiste Lully wrote overtures, dances, dance-like songs, descriptive instrumental pieces such as combats, and parody-like recits with Italian texts.
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Jean Baptiste Lully experimented with all types of compositional devices and found new solutions that he later exploited to the full in his operas.
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Always with Jean Baptiste Lully, the point of departure was a verse libretto, in most cases by the verse dramatist Philippe Quinault.
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