Vocal

The World of Lully

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The World of Lully

  • CDR 90000 043
Play Cedille Selects
    • Ouverture from Armide (2:29)

    • JEAN-BAPTISTE LULLY (1632–1687)

      Premiere Divertissement (15:09)

      Ouverture from Armide (2:29)

    • Air from Persee (1:18)

    • Air from Persee (1:18)

    • Serenade from Ballet des plaisirs (4:31)

    • Serenade from Ballet des plaisirs (4:31)

    • Air from Phaeton (0:50)

    • Air from Phaeton (0:50)

    • Chanson contre les jaloux from Ballet de l amour Malade (2:23)

    • Chanson contre les jaloux from Ballet de l amour Malade (2:23)

    • Minuet from Armide (0:44)

    • Minuet from Armide (0:44)

    • Air: Pauvres amants from Le Sicilien (2:48)

    • Air: Pauvres amants from Le Sicilien (2:48)

    • Lentement (2:39)

    • JEAN-FÉRY REBEL (1666-1747)

      Le tombeau de Monsieur Lully (14:01)

      Lentement (2:39)

    • Vif (2:03)

    • Vif (2:03)

    • Lentement (2:43)

    • Lentement (2:43)

    • Vivement (3:50)

    • Vivement (3:50)

    • Les regrets (2:46)

    • Les regrets (2:46)

    • Menuet from Alceste (0:58)

    • LULLY

      Seconde Divertissement (9:34)

      Menuet from Alceste (0:58)

    • C est la saison d aimer from Alceste (1:32)

    • C est la saison d aimer from Alceste (1:32)

    • Recit: Suivons de si douces loix from Ballet d Alcidiane (1:48)

    • Recit: Suivons de si douces loix from Ballet d Alcidiane (1:48)

    • Gavotte from Amadis (1:16)

    • Gavotte from Amadis (1:16)

    • Gigue - Les plaisirs nous suivent from Amadis (3:56)

    • Gigue - Les plaisirs nous suivent from Amadis (3:56)

    • Ouverture de la Mascarade (3:53)

    • LULLY / arr. Jean d'Anglebert

      Pieces de clavecin (7:35)

      Ouverture de la Mascarade (3:53)

    • Les songes agreables (1:54)

    • Les songes agreables (1:54)

    • Gigue (1:44)

    • Gigue (1:44)

    • Plainte de Cloris from Le Grand Divertissement Royal de Versailles (5:26)

    • LULLY

      Plainte de Cloris from Le Grand Divertissement Royal de Versailles (5:26)

    • Galliarde from Trios pour le coucher du roi (3:07)

    • Galliarde from Trios pour le coucher du roi (3:07)

    • Tombeau de Lully from Second livre de pieces de violes (6:21)

    • MARIN MARAIS (1656–1728)

      Tombeau de Lully from Second livre de pieces de violes (6:21)

    • Recit: Enfin il est en ma puissance (3:18)

    • LULLY

      Armide, Tragedie lyrique (selections) (15:50)

      Recit: Enfin il est en ma puissance (3:18)

    • Air: Venez, venez seconder mes desirs (1:10)

    • Air: Venez, venez seconder mes desirs (1:10)

    • Air (0:53)

    • Air (0:53)

    • Passacaille (arr. d Anglebert) (5:31)

    • Passacaille (arr. d Anglebert) (5:31)

    • Recit: Le perfide Renaud me fuit (2:43)

    • Recit: Le perfide Renaud me fuit (2:43)

    • Air: Traitre, attens (2:11)

    • Air: Traitre, attens (2:11)

Album Description Download Full CD Booklet

The movie that sparked interest in French baroque music, 1991's Tous les matins du monde, centered on viol virtuoso Marin Marais and his teacher Sainte-Colombe. But music in the age of Louis XIV actually revolved around the formidable composer and impresario Jean-Baptiste Lully (1632-1687), the dominant star in the Sun King's musical galaxy.

On this CD, the Chicago Baroque Ensemble and soprano Patrice Michaels take listeners beyond the viol repertoire popularized by the French film. Here, on a single CD, are solo and chamber arrangements of Lully's vocal and instrumental theater music. Intimate arrangements such as these were widely performed in salons during Lully's lifetime and long thereafter.

For the sumptuous court at Versailles, Lully created music that would "soothe the ear and delight the senses . . . elegant, clear, and well-ordered" (Joseph Machlis, The Enjoyment of Music). Lully combined large baroque gestures with the minute refinement of the French "precieux" style, writes John Mark Rozendaal, the Chicago Baroque Ensemble's artistic director. "Perhaps it is this uncommon interplay between intimate and corporate expression that makes Lully's opera music so satisfying in chamber music renditions," Rozendaal says.

The two Lully divertissements on the recording, arranged by the Chicago Baroque Ensemble, comprise song an dance sequences from Alceste, Amadis, Armide, Ballet d"alcidiane, Ballet de l'amour malade, Ballet Des Plaisirs, Persée, and Phaeton.

The Galliarde from Trios pour le coucher du roi shows Lully working in the Italianate trio sonata format. La Plainte de Cloris, with words by Molière, is part of Lully's Le Grand Divertissement Royal de Versailles, a self-contained royal entertainment. Armide, Lully's last completed opera, contains some of his most renowned music.

Lully protégés Marais (1656-1728) and Jean-Féry Rebel (1666-1747) each wrote a "Tombeau," a heartfelt musical tribute, to Lully. (Lully had, in a sense, "shot himself in the foot": He accidentally stabbed his own foot with the long conducting stick he used to beat time and died from an infection.)

Jean-Henri d'Anglebert, a harpsichord virtuoso who was present at Lully's original productions, wrote arrangements of Lully's works. D'Anglebert's efforts show a mastery of counterpoint, ornamentation, and the harpsichord idiom.

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Program Notes

Album Details

Total Time: 77:37

Recorded: March 17, 18, 24 & 27, 1998 at WFMT, Chicago, IL
Producer: James Ginsburg
Engineer: Bill Maylone
Cover: Reunion de Musiciens, Francois Puget (1651-1707) Louvre © Photo RMN
Design: Cheryl A Boncuore
Notes: John Mark Rozendaal

© 1999 Cedille Records/Cedille Chicago

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