xxxi) that these were the first performances of the opera outside of France; in fact, they are (so far as we know) the first performances of any
Lully opera beyond the French kingdom.
As with
Lully, the music of Charpentier expresses deep emotions within the human experience, despite its mythological trappings.
Lully was, according to French Baroque music historian William Christie, a "national figure" from his early days, and long after his death he was "canonized not only by the aristocracy, the literati, and the musical educated, but by everybody in France." His god-like standing in the world of French music constituted a parallel to the divine appointments of his patron, Louis XIV, who reigned from 1643 to his death in 1715.
Not all of these patterns--even, Giroud informs us, the overture--were
Lully's inventions, but he did more than anyone else to establish them.
With:
Lully Bossa, Cesar Badillo, Diego Cadavid, Zaira Valenzuela, Andrea Gomez.
This was now the monopoly of the composer and opera director
Lully, and it must have seemed that the Guenegaud was doomed, so Thomas quickly changed his allegiance, perhaps also hoping to fill the gap left by Racine's retirement in 1677.
Among the selections are "Minuet" by Peter Pelham, "Air" by George Friedrich Handel, "Scot's Ground" and "Lesson by
Lully" by Scottish music publisher Robert Bremner and "Pastorale" by Charles Wesley.
Although both pageants deal with subjects and events that are also found in the four English mystery cycles, the songs and scores of the Shearmen and Taylors are unique, as they represent an exceptional record of medieval English music, especially in the case of the already popular lullaby, sung by the mothers of the slaughtered children of Bethlehem: "
Lully lulla, pow littell tine child,/ By by,
lully lullay, pow littell tyne child, / By by,
lully lyllay" (110).
The William Hoeveler Judicial Nomination Award went to Judge Robert Hawley, and the Charles
Lully Pro Bono Service Award went to Jeffery Kelley Nowack.
Two thirteenth-century Spanish alchemists, Arnau de Villanova and Raymond
Lully, introduced the use of wine spirits, which they called aqua vitae (water of life), as a solvent into European medicine.
While students learned about the style differences from each period, they listened to corresponding music chosen by our music teacher, including selections from Jean Baptiste
Lully, Francois Couperin, and Frederick Chopin.
Although Carter discusses the phenomenon in a predominantly Italian context, it is frequently found in French scores, from
Lully to Gluck.