Jean-baptiste Lully (1632-1687)

Jean-Baptiste Lully is one of those figures who loom large in histories of music; much less so in concert and on disc. In fact he's probably best known as the victim of the worst conducting accident in history, whacking himself on the toe with the weighty staff he used, in those pre-baton days, to beat time. Tragically, time was up for Lully, and he died of a gangrenous infection, at the peak of his powers, a little over two months later. All this week, Donald Macleod explores the life and work of this arrogant, ambitious, difficult, ruthless but remarkable man who came from the backstreets of Florence to be the preeminent composer of the French court in the late 17th century, the founding father of French opera and one of the leading figures in the music of his era.

In today's programme, the teenage Lully bumps into a French aristocrat in the Tuscan capital and in an incredible lucky break is whisked off to Paris to teach Italian to Anne-Marie-Louise d'Orl退ans, a cousin of the king. Lully's talent for dancing provided him with his next lucky break, when he was chosen to take part in a court ballet. The young Louis XIV - six years younger than Lully and himself a skilful dancer - was so impressed by the Italian's moves that he poached him from his cousin's household. Lully now proved that he could write the tunes as well as dance to them, and a court appointment followed, as 'composer of instrumental music' to the king. By the time of Louis's dynastic marriage to Maria Theresa of Spain, Lully had become an indispensable part of the French court's well-oiled musical machine, and in 1661 he was created Superintendent of the King's Chamber Music. Around the same time, he became a naturalized Frenchman, and got married - perhaps partly to dispel the rumours that were beginning to circulate about his sexuality.

Donald Macleod explores how Lully came to be Louis XIV's favourite composer.

Jean-Baptiste Lully is one of those figures who loom large in histories of music; much less so in concert and on disc. In fact he's probably best known as the victim of the worst conducting accident in history, whacking himself on the toe with the weighty staff he used, in those pre-baton days, to beat time. Tragically, time was up for Lully, and he died of a gangrenous infection, at the peak of his powers, a little over two months later. All this week, Donald Macleod explores the life and work of this ambitious, arrogant, difficult, ruthless but remarkable man who came from the backstreets of Florence to be the preeminent composer of the French court in the late 17th century, the founding father of French opera and one of the leading figures in the music of his era.

In today's programme, a royal dictat throws Lully together with the greatest comic actor and playwright of his age: Moli耀re. For seven years they enjoyed a close collaboration, producing a series of brilliant com退dies-ballets culminating in Le bourgeois gentilhomme, which almost 250 years later inspired Richard Strauss to create his own music for Moli耀re's play. Perhaps a creative relationship of such intensity was too hot not to cool down; for whatever reason - it was probably over money - the two men eventually had an acrimonious bust-up. There's an architectural side-plot; as Lully's success and wealth increased, so did the grandeur of his residential designs. That other McCloud - Kevin - would have loved him.

Donald Macleod focuses on Lully's collaboration with Moliere.

Jean-Baptiste Lully is one of those figures who loom large in histories of music; much less so in concert and on disc. In fact he's probably best known as the victim of the worst conducting accident in history, whacking himself on the toe with the weighty staff he used, in those pre-baton days, to beat time. Tragically, time was up for Lully, and he died of a gangrenous infection, at the peak of his powers, a little over two months later. All this week, Donald Macleod explores the life and work of this ambitious, arrogant, difficult, ruthless but remarkable man who came from the backstreets of Florence to be the preeminent composer of the French court in the late 17th century, the founding father of French opera and one of the leading figures in the music of his era.

In today's programme, Lully belatedly goes into the opera business - as both poacher and gamekeeper. Not only does he write the first fully-fledged trag退dies lyriques, but in a characteristically brazen move he buys the operatic 'privilege', giving him an absolute monopoly on the production of musical stage-works throughout France. Since he had fallen out with his erstwhile collaborator Moli耀re, he was now in need of a librettist; he chose Philippe Quinault, like Lully, a man of humble origins. By this stage Lully had made a lot of enemies, and his early productions with Quinault faced a formidable cabal. At first they had the support of King Louis XIV, but that changed with their sixth collaboration, Isis - the tale of a beautiful nymph who was lusted over by Jupiter, much to the chagrin of his shrewish wife Juno. The fable was generally taken to be an allegory of court life, with Jupiter representing Louis; Isis corresponding to Marie-Elizabeth de Ludres, the latest young beauty at the court of Versailles to catch the king's eye; and Juno being an deeply unflattering portrait of Louis's chief mistress, Mme de Montespan. When the time of reckoning came, it was Quinault who took the hit; he was temporarily 'disgraced', while Lully continued to go about his business with impunity.

Donald Macleod explores how Lully took over the French operatic stage.

Jean-Baptiste Lully is one of those figures who loom large in histories of music; much less so in concert and on disc. In fact he's probably best known as the victim of the worst conducting accident in history, whacking himself on the toe with the weighty staff he used, in those pre-baton days, to beat time. Tragically, time was up for Lully, and he died of a gangrenous infection, at the peak of his powers, a little over two months later. All this week, Donald Macleod explores the life and work of this ambitious, arrogant, difficult, ruthless but remarkable man who came from the backstreets of Florence to be the preeminent composer of the French court in the late 17th century, the founding father of French opera and one of the leading figures in the music of his era.

In today's programme, with his regular librettist Philippe Quinault temporarily out of favour with the king, Lully has to find a new one; he plumps for Thomas Corneille, brother of the famous tragedian. Lully and Corneille collaborated on two operas: Psych退, the story of the mortal woman so beautiful that the god Cupid fell in love with her; and Bell退rophon, a yarn about the mythical Corinthian horseman who, with the aid of the winged horse Pegasus, defeated the terrible Chimaera. Bellerophon may have been mythical but his purpose was very real; to flatter Louis XIV, who would easily have seen his own magnificence reflected in the hero's glorious deeds. Louis's son, the Dauphin, was of a less energetic nature; the Duchesse d'Orl退ans described him as 'a man who could spend a whole day lying on a sofa tapping his shoes with a cane'. For his wedding to the unfortunate Marie-Anne-Christine-Victoire of Bavaria, Lully, collaborating once again with Quinault, devised an op退ra-ballet - Le triomphe de l'Amour. The son of the Sun King's indolence served him well; the son of the Sun, Pha뀀ton, had poorer judgement, insisting that his father let him drive his chariot across the sky. That didn't go well; he lost control of his vehicle and Jupiter struck him down with a thunderbolt - an absolute gift to Lully's talented set designer, Jean Berain, who created an unforgettable spectacle for Parisian audiences.

Donald Macleod explores Lully's collaboration with a new librettist: Thomas Corneille.

Jean-Baptiste Lully is one of those figures who loom large in histories of music; much less so in concert and on disc. All this week, Donald Macleod explores the life and work of this ambitious, arrogant, difficult, ruthless but remarkable man who came from the backstreets of Florence to be the preeminent composer of the French court in the late 17th century, the founding father of French opera and one of the leading figures in the music of his era.

In today's programme, Lully goes too far - with his page-boy, a young lad called Brunet. The composer's rock-solid supporter to date, Louis XIV was scandalized, or at least had to appear so, and Lully was warned to 'amend his conduct' in future. Perhaps as a public sign of the king's disapproval, Lully's opera Armide, considered by many to be his masterpiece, did not, as usual, receive its premiere at Versailles, but in Paris. Lully had another rather more pressing problem to contend with around this time - an anal fistula, which was operated on in January 1686. When a few months later the king suffered the same affliction, the royal surgeon developed a special type of sheathed lancet to treat it. The operation, which was extensively trialled on citizens at the bottom end of the societal food chain, was a success, and celebrations broke out all over France. Lully's contribution to the frenzy of thanksgiving was a special performance of his Te Deum in Paris - during the course of which the famous self-inflicted accident took place.

Donald Macleod on how Lully fell out of favour with the King and then stabbed himself.

Jean-Baptiste Lully was the most influential French composer of the 17th century, a key figure in the court of Louis XIV. This week, Donald Macleod explores how Lully rose from humble origins in Italy to become the most powerful musician in France, a story of lies, ambition and intrigue.

Today, Donald reveals Lully's childhood in Italy and the circumstances that led him to France, where he began to make a name for himself in a sometimes hostile environment for Italians. Donald also examines the composer's own misleading claims about his heritage.

Pha뀀ton, LWV 61, Overture

Les Talens Lyriques

Christophe Rousset (conductor)

Le Carnaval, LWV 52, Overture

Cafe Zimmerman

Pablo Valetti (conductor)

Le Carnaval, LWV 52 (Air `Son dottor per occasion`)

Philippe Est耀phe (Bass)

Dies Irae, LWV 64/1

Allabastrina Choir & Consort

Elena Sartori (conductor)

Dances - Les noces de village, LWV 19 (excerpts)

Accademia Amsterdam

Psych退, LWV 56 (Finale)

Boston Early Music Festival Chorus

Boston Early Music Festival Orchestra

Stephen Stubbs, Paul O'Dette (conductors)

Jean-Baptiste Lully was the most influential French composer of the 17th century, a key figure in the court of Louis XIV. This week, Donald Macleod explores how Lully rose from humble origins in Italy to become the most powerful musician in France, a story of lies, ambition and intrigue.

Today, Donald explores how Lully came to work for France's monarch, Louis XIV, the Sun King. Lully's own rise to fame in many ways mirrors Louis's own rise to power, and Donald explores the dynamics of the relationship between the two men, and the advantages this afforded to Lully.

Atys, LWV 53, Overture

Capriccio Basel Baroque Orchestra

Anon

Les Nuits Ballet: Ouverture

Ensemble Correspondances

S退bastien Dauc退 (conductor)

Ballet royal de Flore, LWV 40 (excerpt)

La Simphonie du Marais

Hugo Reyne (conductor)

Ballet royal des amours d退guis退s, LWV 21 (Air `Ah! Rinaldo, e dove sei?`)

Ambroisine Br退 (mezzo soprano)

Les Talens Lyriques

Christophe Rousset (conductor)

L'amour malade, LWV 8

Mary Enid Haines (soprano)

Sharla Nafziger (soprano)

Aradia Ensemble

Kevin Mallon (conductor)

Jubilate Deo - Motet de la paix, LWV 77/16

La Capella Reial de Catalunya

Le Concert des Nations

Jordi Savall (conductor)

Alcidiane, LWV 9, Ouverture

Musica Antiqua K怀ln

Reinhard Goebel (conductor)

Donald Macleod explores the relationship between Lully and his chief patron, Louis XIV.

Jean-Baptiste Lully was the most influential French composer of the 17th century, a key figure in the court of Louis XIV. This week, Donald Macleod explores how Lully rose from humble origins in Italy to become the most powerful musician in France, a story of lies, ambition and intrigue.

In today's programme, Donald tells us how Lully came to marry and explores a series of important changes that happened at around this time, including an alteration to the composer's name.

Armide, LWV 71 (End of Act II)

Le Concert Spirituel

Herve Niquet (conductor)

Ballet Naissance de Venus, LWV 27 (excerpt)

B退n退dicte Tauran (soprano)

Deborah Cachet (soprano)

Ambroisine Br退 (mezzo soprano)

Cyril Auvity (tenor)

Les Talens Lyriques

Christophe Rousset (conductor)

Le Triomphe de l'amour, LWV 59 (excerpts)

V退ronique Gens (soprano)

Ensemble Les Surprises

Louis-No뀀l Bestion de Camboulas (conductor)

Miserere, LWV 25

Amel Brahim-Djelloul (soprano)

Damien Guillon (countertenor)

Howard Crook (tenor)

Herv退 Lamy (tenor)

Arnaud Marzorati (baritone)

Les Pages et les Chantres

Les Symphonistes du Centre de Musique Baroque de Versailles

Musica Florea

Olivier Schneebeli (conductor)

Jean-Baptiste Lully was the most influential French composer of the 17th century, a key figure in the court of Louis XIV. This week, Donald Macleod explores how Lully rose from humble origins in Italy to become the most powerful musician in France, a story of lies, ambition and intrigue.

Today, Donald tells the story of Lully's creative partnership with Moli耀re and how their friendship blossomed and then soured.

Les Plaisirs de l'le enchant退e, LWV 22 (Divertisment No 5)

Isabelle Desrochers (soprano)

Karina Gauvin (soprano)

Les Talens Lyrique

Christoph Rousset (conductor)

Le Carrousel de Monseigneur, LWV 72 (Marches Militaires)

Ludwig Guttler (trumpet)

Ludwig Guttler ensemble

La Princesse d'Elide, LWV 22 (Quand l'amour a nos yeux)

Luanda Siquera (soprano)

Les Paladins

J退rome Correas (conductor)

Le Bourgeois Gentilhomme, LWV 43 (excerpt)

Norwegian Chamber Orchestra

Terje Tønnesen (conductor)

Psych退, LWV 45, Act I `Deh, piangete al pianto mio`

Emanuela Galli (soprano)

La Risonanza

Fabio Bonizzoni (conductor)

Cadmus et Hermione, LWV 49 (Marche pour le sacrifice; ‘C'est vainement que l'on esp耀re')

Thomas Doli退 (baritone)

Enguerrand De Hys (tenor)

Olivier Fichet (tenor)

Lisandro Abadie (baritone)

Guilhem Worms (baritone)

Virgile Ancely (baritone)

Ensemble Aedes

Po耀me Harmonique

Vincent Dumestre (conductor)

Donald Macleod explores the relationship between Lully and Moli\u00e8re.

Jean-Baptiste Lully was the most influential French composer of the 17th century, a key figure in the court of Louis XIV. This week, Donald Macleod explores how Lully rose from humble origins in Italy to become the most powerful musician in France, a story of lies, ambition and intrigue.

In this final programme, we see how Lully eventually fell out with Louis XIV and Donald also examines the tragic events which led to the composer's death.

Te Deum, LWV 55 (Sinfonie and Te deum laudamus)

Choeur de Chambre de Namur

Millenium Orchestra

Leonardo Garc퀀a Alarc　n (conductor)

Thes退e, LWV 51 (end of Act V)

Howard Crook (tenor)

Olivier Laquerre (bass)

Laura Pudwell (soprano)

Harry van der Kamp (bass)

Suzie LeBlanc (soprano)

Marc Molomot (tenor)

Aaron Engebreth (baritone)

Ellen Hargis (soprano)

Mireille Lebel (mezzo-soprano)

Amanda Forsythe (soprano)

Marek Rzepka (bass)

Aaron Sheehan (tenor)

Yulia van Doren (soprano)

Teresa Wakim (soprano)

Boston Early Music Festival Chorus

Boston Early Music Festival Orchestra

Stephen Stubbs, Paul O'Dette (conductors)

La Bourgeois Gentilhomme, LWV 43 (La c退r退monie turque)

La Petite Bande

Gustav Leonardt (conductor)

Armide, LWV 71, Overture

Le Concert Spiritual

Herve Niquet (conductor)

De Profundis, LWV 62 (Requiem aeternum)

Chœur de Chambre de Namur

Drastic events result from Lully's tendency to make enemies. With Donald Macloed.