Form and tonal structure of scenes from Monteverdi, Cesti, and Alessandro
Scarlatti, which were models for Lully’s plans. He modified the earlier
approach by giving greater emphasis to tonal connections in the shaping of
scenes. He usually based the musical form on the dramatic form of the text,
but at times the musical form was developed more independently. Schneider
also points to philosophical and political associations Lully made with his for-
mal designs.- Anthony, James R. “The Musical Structure of Lully’s Operatic Airs.” In Col-
loque(#1127), 65–76.
An examination of some 600 airs for solo voice in the 13 tragédies en musique.
Anthony classifies them as dialogue airs, monologue airs, dance songs, and
maxim airs; these types are defined. Most of the airs, in all categories, are in
binary form; others are in rondeau or ternary form. But in the monologue
type, the rondeau predominates. A table clarifies these distinctions. - Howard, Patricia. “Lully and the Ironic Convention.” COJ1 (1989): 139–
Considers “a relationship between style and situation in a practice which
appears to belong exclusively to the French stage, which was initiated by Lully,
and which, half a century after his death, seems to have been forgotten.” The
idea is that Lully’s arias carry coded messages—for example, the bass voice in
a doubled continuo air = a rejected lover. Destousches, Campra, and even
Rameau used similar devices.
See also Howard (#267).
Individual Works
See also items noted at #1122, #1123, and #1132.
Amadis
FO, v.6.
Armide
FO,v.6.
- Rosow, Lois. “Lully’s Armideat the Paris Opéra: A Performance History,
1686–1766.” Ph.D. diss., Brandeis U., 1981. xiv, 716p.
An article based on this research is in #1130. - Torrefranca, Fausto. “La prima opera francese in Italia? (L’Armidadi Lully,
Roma, 1690).” In Musikwissenschaftliche Beiträge: Festschrift für Johannes
Wolf zu seinem sechzigsten Geburtstag,ed. W. Lott et al., 191–197 (Berlin:
Breslauer, 1929; ML55 .M97).
Although Ademollo (#2568) lists a performance of L’Armidaat the Tor di
Nona (Tordinona) in 1690, no contemporary evidence supports him, and no
libretto has been seen for the Italian version. A French libretto has survived,
with a wax stain on one page, suggesting it was taken to a performance.
Jean-Baptiste Lully 219