Lully

Summary

Dominique Pagani refers to Lully mainly as the musician of the court of Versailles. He places him within the political order of Louis XIV's reign: the composer, protected by the king, who himself danced in his comedies1, is in a sense offered by the sovereign to a pacified court2, and his music is part of the entertainments of Versailles3. He returns several times to Lully's collaboration with Molière, particularly the music for Le Bourgeois gentilhomme, which he presents as a musical comedy4. In his "Musicosophie" sessions he draws a point about the history of forms from it: the turquerie already begins with Lully and the ceremony of the grand Mamamouchi5, and he cites him for this genre when discussing variation in Beethoven6. Elsewhere, he simply counts him among the great composers before the Russian school7. These mentions are brief and do not lead to a detailed study of his works.

1. 1#10 Return to the logics of the subject11 Jun 2020 · 56:04
2. 2Hesitation fascinated by hearing and by sight: Siegfried and Perceval12 Dec 2022 · 9:25
3. 3From the debauchery of sense to the orgy of sentiment29 May 2023 · 41:42
4. 4#5 Benefits and harms of amnesia…19 Nov 2020 · 1:11:12
5. 5#3 What is called modern music?3 Dec 2020 · 51:33
6. 6#6 The jazz variation… by Beethoven15 Dec 2020 · 13:48
7. 7The music of history26 Apr 2015 · 1:32:35

Summary produced automatically from 9 of the passages below, to be reviewed; the numbers link to the moment in the session.