Lully

What Dominique Pagani says

Dominique Pagani refers to Lully mainly as the musician of the court of Versailles1. He places him within the political order of Louis XIV's reign: the composer, protected by the king, who himself danced in his comedies2, is in a sense offered by the sovereign to a pacified court3, and his music is part of the entertainments of Versailles4. He returns several times to Lully's collaboration with Molière, particularly the music for Le Bourgeois gentilhomme, which he presents as a musical comedy56. 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 Mamamouchi7, and he cites him for this genre when discussing variation in Beethoven8. Elsewhere, he simply counts him among the great composers before the Russian school9. These mentions are brief and do not lead to a detailed study of his works.

1. 1Leibniz1 Aug 2017 · 38:34
2. 2#10 • Retour aux logiques du sujet11 Jun 2020 · 56:04
3. 3L’hésitation fascinée par l’ouÏe et par la vue : Siegfried et Perceval12 Dec 2022 · 9:25
4. 4Dominique Pagani : De la débauche du sens à l'orgie du sentiment29 May 2023 · 41:42
5. 5Proust30 Jan 2020 · 59:55
6. 6#5 Bien-et Mé-faits de l'amnésie...19 Nov 2020 · 1:11:12
7. 7Musicosophie 3. Qu'appelle-t-on une musique moderne?3 Dec 2020 · 51:33
8. 8Musicosophie 6. La Variation Jazz... de Beethoven15 Dec 2020 · 13:48
9. 9La Musique de l'Histoire26 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.