Tragédie Lyrique – Comparison of Approaches of J. B. Lully and J. P. Rameau

1914 WordsJun 5, 20118 Pages
1 Tragédie lyrique – Comparison of Approaches of J. B. Lully and J. P. Rameau Jean –Baptiste Lully and Jean –Philippe Rameau both were composers who made a distinctive contribution into a development of French opera genre. Born in 1632, Jean – Baptiste Lully was probably the most powerful force in French music in the seventeenth century. With a generous support of Louis XIV who granted him an exclusive right to produce sung drama in France, he and his librettist Jean – Philippe Quinalt reconciled the demands of drama, music and ballet in a new French form of opera called tragédie lyrique. Being successful in their attempts, Lully and Quinalt gave birth to a new form of dramatic action that without any significant…show more content…
In the study called Meter fluctuation in Lully’s Recitativ, Remi Castonguay concludes about the three types with two additional subdivisions. In the type titled recitatif simple or ordinaire, the vocal line is accompanied only by continuo and contains frequent meter changes. When the second type of recitatif accompagne with both its variations solennel and pathetique appears, a listener might notice some intense dramatic moments like scenes of confusion, madness, or magic going on the stage. Agitated rhythmic accompaniments of this recitative type also exhibit 5 frequent meter changes. The third type or recitative, so called recitatif mesure brings us to the point of eventual similarity between the forms of recitative and air. The character of the air form is more on a lyrical side of Lully’s musical expression. Surprisingly, this is something that both forms share in common. Recitatif mesure as well as Air are forms reserved for expression of the most lyrical and delicate passages of the libretto. Here, a question can obviously occur. Why not to avoid a confusion of two different forms expressing the same type of emotion by using only one of them? From the musical point of view,

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