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LULLY , See also:JEAN-See also:BAPTISTE (c. 1633-1687), See also:Italian composer, was See also:born in See also:Florence. Through the duc de See also:Guise he entered the services of Madame de See also:Montpensier as See also:scullery-boy, and with the help of this See also:lady his musical talents were cultivated. A scurrilous poem on his patroness resulted in his dismissal. He then studied the theory of See also:music under Metra and entered the See also:orchestra of the See also:French See also:court, being subsequently appointed director of music to See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XIV. and director of the See also:Paris See also:opera. The See also:influence of his music produced a See also:radical revolution in the
de Tarraga (c. 2370), a converted See also:Jew who studied the occult. Others are ascribed by See also:Morhof to a Raymundus Lullius Neophytus, who lived about 1440. See See also:ALCHEMY, and also J. See also:Ferguson, Bibliotheca chemica (1906).
See also:style of the dances of the court itself. Instead of the slow and stately movements which had prevailed until then, he introduced lively ballets of rapid See also:rhythm. In See also:December 1661 he was naturalized as a Frenchman, his See also:original name being Giovanni Battista Lulli. In 1662 he was appointed music See also:master to the royal See also:family. In 1681 he was made a court secretary to the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king and ennobled. While directing a Te Deum on the 8th of See also:January 1687 with a rather See also:long See also:baton he injured his See also:foot so seriously that a cancerous growth resulted which caused his See also:death on the 22nd of See also:March. Having found a congenial poet in See also:Quinault, Lully composed twenty operas, which met with a most enthusiastic reception. Indeed he has See also:good claim to be considered the founder of French opera, forsaking the Italian method of See also:separate recitative and See also:aria for a dramatic consolidation of the two and a quickened See also:action of the See also:story such as was more congenial to the See also:taste of the French public. He effected important improvements in the See also:composition of the orchestra, into which he introduced several new See also:instruments. Lully enjoyed the friendship of See also:Moliere, for some of whose best plays he composed illustrative music. His See also:Miserere, written for the funeral of the See also:minister Sequier, is a See also:work of See also:genius; and very remarkable are also his See also:minor sacred compositions. On his death-See also:bed he wrote Bisogna morire, peccatore.
End of Article: LULLY
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