The first Lully I ever heard back in high school French in the 1960s in Canada, when we watched a film of Moliere's Le Bourgeois Gentilhomme. The class (used to listening to the Beatles and the Stones) were flabbergasted by the music! "This stuff is great!...Who wrote it?" many were saying. I wonder whether a modern student audience would react in the same way? (there was something of a baroque revival going on then). One would hope they would! Nicely performed here by my favourite little baroque orchestra.
Oh, it's such a shame not to appreciate the introduction of these movements by the dance master! Realy. It's so beautiful and 'élégant'. Very wonderful rendition by the Bremer Barochorchester, BRAVO ❤❤
It's interesting that, despite the later Orientalist interpretations of Turkish culture, until the 19th century, much of Turkish-influenced music was deeply moving and often had militaristic themes
This is an interesting comment, the "marche pour la cérémonie des Turcs" is supposed to represent a fake Turkish ceremony to grant Monsieur Journdain of a mockery title of Turkish nobility "Mamamushi", indeed. But I'm not sure it was inspired by Turkish music, or was it ?
March for the Turkish Ceremony (Marche pour la cérémonie des Turcs) was written by Jean-Baptiste Lully in 1670. It is taken from the ninth comedy-ballet entitled « Le Bourgeois Gentilhomme » by the playwright Molière. Comedy-ballet is a combination of spoken comedies, singing, and dancing. This form was desired by king Louis XIV in order to sew together theater, music and dance without breaking the thread of the piece. Context: The King received the emissary of the Grand Turk represented by Suleiman Aga in 1669 but the diplomat's clumsiness and casualness turned into a caricature. It was then that the famous « Turkish ridiculous ballet » was born. The comedy-ballet is a veritable reservoir of the processes that Jean-Baptiste Lully will find in lyric tragedy. She is entirely instrumental and is intended to be danced. So it’s ballet music. To heighten the irony of this scene, the composer employs all the instruments at his disposal and uses also employs percussion with oriental sounds. The march is structured around two repeated musical phrases. From the first notes, everything is done to create a solemn character as the key of G minor, the dotted rhythms similar to opera overtures and supposed to represent the march of the Sun King. This colored piece also includes a small tessitura of which the repetitions offer a journey of exploration of the timbre in the composition. *Lucien*
Right you are. (Not to speak of lacking the space for even 1 of the 3 commedia clowns to actually dance in. If you've foregone all the dances, why fake the chaconne with silly stage business?)
If you've foregone all the dances -- for the very good reason that you don't have the space (or the dancers?) for them -- why fake the chaconne with silly stage business for only Arlequin?
The first Lully I ever heard back in high school French in the 1960s in Canada, when we watched a film of Moliere's Le Bourgeois Gentilhomme. The class (used to listening to the Beatles and the Stones) were flabbergasted by the music! "This stuff is great!...Who wrote it?" many were saying. I wonder whether a modern student audience would react in the same way? (there was something of a baroque revival going on then). One would hope they would! Nicely performed here by my favourite little baroque orchestra.
There is no Baroque renewal ! For what ? The Baroque period was revisited by the Romantics in the 19th century. *LM*
you know, I think they would like it today, if exposed to it which sadly they won't be.
Sublimissime !
Je n'en dors plus...🖤🖤🖤
Et maintenant , t'y arrive ?
I really liked this performance of Le Bourgeois Gentilhomme - I've heard many.
Musik und Interpretation...immer wieder eine Freude!
Éblouissant ! A voir et écouter sans modération... Bravo.
That's so great that the concert master is announcing the different dances. They did it as well back in the day.
Doubtful. The contemporary audience knew which dance was which within a half-bar.
Oh, it's such a shame not to appreciate the introduction of these movements by the dance master! Realy. It's so beautiful and 'élégant'. Very wonderful rendition by the Bremer Barochorchester, BRAVO ❤❤
Absolutely amazing performance. One of better ones that I already ever listened.
Esa percusión de Lully es soberbia ; 5:29 Marche pour la Ceremonie des Turcs .......... c'est merveilleux !!!
My favourite one
complimenti
Erstaunlich, wundervoll. Herzlichen Dank!
Amazing! Well done! Thank you
カッコ良い!大昔の曲がもたらす心地良さ。素晴らしいな!
Voilà l"esprit français qui fait d'un simple divertissement, un petit bijou comme la chaconne des scaramouches ...
Thanks for sharing this, great!
Très très jolie
magnifique
It's interesting that, despite the later Orientalist interpretations of Turkish culture, until the 19th century, much of Turkish-influenced music was deeply moving and often had militaristic themes
This is an interesting comment, the "marche pour la cérémonie des Turcs" is supposed to represent a fake Turkish ceremony to grant Monsieur Journdain of a mockery title of Turkish nobility "Mamamushi", indeed. But I'm not sure it was inspired by Turkish music, or was it ?
Música Sencilla y Sublime. Interpretación : 11 sobre 10
C'est très beau Lully, je comprends pourquoi Louis XIV en avait fait son musicien attitré !!😍
Sehr gut!
March for the Turkish Ceremony (Marche pour la cérémonie des Turcs) was written by Jean-Baptiste Lully in 1670. It is taken from the ninth comedy-ballet entitled « Le Bourgeois Gentilhomme » by the playwright Molière. Comedy-ballet is a combination of spoken comedies, singing, and dancing. This form was desired by king Louis XIV in order to sew together theater, music and dance without breaking the thread of the piece. Context: The King received the emissary of the Grand Turk represented by Suleiman Aga in 1669 but the diplomat's clumsiness and casualness turned into a caricature. It was then that the famous « Turkish ridiculous ballet » was born. The comedy-ballet is a veritable reservoir of the processes that Jean-Baptiste Lully will find in lyric tragedy. She is entirely instrumental and is intended to be danced. So it’s ballet music. To heighten the irony of this scene, the composer employs all the instruments at his disposal and uses also employs percussion with oriental sounds. The march is structured around two repeated musical phrases. From the first notes, everything is done to create a solemn character as the key of G minor, the dotted rhythms similar to opera overtures and supposed to represent the march of the Sun King. This colored piece also includes a small tessitura of which the repetitions offer a journey of exploration of the timbre in the composition. *Lucien*
Lully🎉🎉🎉❤❤❤
Yeah! This is French baroque music and its superb overdotted rhythms. I just really miss one pair of recorders.
Right you are.
(Not to speak of lacking the space for even 1 of the 3 commedia clowns to actually dance in. If you've foregone all the dances, why fake the chaconne with silly stage business?)
😇🥰😍🤩
Ah ce Giovanni Battista Lulli!
5:30
Very efficient, thank you.
Holy cow that lady taking pictures ruins the last part
🤣💝💖🥁🎼🎻🤩
If you've foregone all the dances -- for the very good reason that you don't have the space (or the dancers?) for them -- why fake the chaconne with silly stage business for only Arlequin?
Some anachronisms - the flutes for example
Right you are!
グリーンスリーブス