Lully

The mythological story told here, with a score by Jean-Baptiste Lully, so entranced Louis XIV that his affection became synonymous with the music.

None of the officers were injured, Lully said.

Lully said there has only been one call since Jan.

Lully was not immediately available for comment.

Baroque composer Jean-Baptiste Lully and his Les Petits Violons included oboes and bassoons along with the strings in the 16-piece (later 21-piece) ensemble, as one of the first orchestras to include the newly invented double reeds.

Despite his foreign origin, Lully established an Academy of Music and monopolised French opera from 1672.

Gluck used a libretto originally set by Lully for this French work, his favourite among his own operas.

In France, tragic operatic works from the time of Lully to about that of Gluck were not called opera, but tragédie en musique ("tragedy in music") or some similar name; the tragédie en musique is regarded as a distinct musical genre.

Lully is considered the most important composer of music for ballets de cour and instrumental to the development of the form.

Lully's motets often included parts for soloists as well as choirs; they were longer, including multiple movements in which different soloist, choral, or instrumental forces were employed.

Lully's operas also show a concern for expressive recitative which matched the contours of the French language.

Some of these are: * The French Marquise de Créquy wrote in her book "Souvenirs", that the tune Grand Dieu Sauve Le Roi, was written by Jean-Baptiste Lully citation in gratitude for the survival by Louis XIV of an anal fistula operation.

The French overture as found in Jean-Baptiste Lully 's operas Waterman and Anthony 2001.

With Lully he again used music for Monsieur de Pourceaugnac, for Les Amants magnifiques, and finally for Le Bourgeois gentilhomme (The Middle Class Gentleman), another of his masterpieces.