Scan 558
The American history and encyclopedia of music .., 1908
17 lines. Read by computer on 7 September 2026. Printed page 508. See the scan on archive.org.
1Lully
2the Court ballets and to write ballet divertissements for Cavalli's operas, then given for the first time in France. In 1661 the King appointed him "Charge of Chamber Music to the King" and the next year, "Charge of Music-Master to the Royal Family." In 1661 he was naturalized.
4In 1664 he married the daughter of Michel Lambert, a talented musician, and they had three sons and three daughters. About the time of his marriage he became friends with Molière, who collaborated with him until 1671. From 1658 to 1671 Lully composed about thirty ballets, the last being for Molière's Psyche. He took part personally in many of them both as dancer and comic actor, thus gaining added favor with the King. Not content with the honors and fortune he already enjoyed, he used his influence with Louis to deprive Abbé Perrin of a grant (1669) which privileged him to create an Academy of Music. Lully obtained this grant himself and became "the founder of the French National Opéra." Whether he had a right to this position or not he certainly did good work, giving his personal attention to every detail, being director, stage manager and everything to ensure its success. He formed a partnership with the poet Quenault as collaborator, which lasted fourteen years. Together they composed the first legitimate French opera, Les Fêtes de l'Amour et de Bacchus. During this time Lully composed twenty operas on a variety of subjects which is surprising. During the fifteen years of his directorship of the Opéra Lully carefully guarded his interests, the King restricting other theatres and actors in every way. In 1681 he obtained the position of secretary to the King, though this office had previously been held only by native noblemen. He died in Paris, leaving a large fortune. His family erected to his memory a splendid monument surmounted by his bust in the left-hand chapel of the church of the Petit-Pères.
6Lully changed completely the Court ballets from the old slow and stately airs to lively and rapid music. He also wrote sacred music; his motets for double choirs were published in 1684 and some exist in the libraries of Versailles and of the Conservatory. As Louis XIV. detested brilliant passages, Lully was obliged to adhere to the smoothness of Italian melodies. The sameness of his operas, his faulty instrumentation and his occasional incorrectness in harmony must be excused on account of the times. He certainly understood the stage, and the fact that his works are still republished is a proof of his talent.
8Louis, his eldest son, born in Paris, 1664, died about 1715. He composed a number of operas and, with Colasse, a four-act ballet, Les Saisons, the memory of which still lives in one of J. B. Rousseau's satires. Jean Baptiste de, second son, born in Paris, 1665, and died in 1701. He was appointed musicmaster in 1695. His principal work was a cantata, Le Triomphe de la Raison. Jean Louis, third son, born 1667 and died 1688, gave promise of becoming a successful musician. His father's Court appointments were given him and upon his death devolved upon his brother.
10Lumbye (loom'-bī), Hans Christian. 1810-1874.
12Popular composer of dance-pieces; born in Copenhagen. He conducted an orchestra of his own in the Tivoli, Copenhagen, and with which he also made concert tours. He was called the "Northern Strauss." His marches and dances were very popular, among them Kroll's Ballklänge, Eine Sommernacht in Danemark and Der Traum des Savoyarden. He retired in 1865 and was created a Kriegsrath. The leadership of his band was undertaken by his son George, who has made himself very popular.
14Lumley, Benjamin. 1811-1875.
16Son of Louis Levy, a Jewish merchant of Canada. He studied for the law and was admitted a solicitor in London, 1832. Four years later he undertook to finance Her Majesty's Theatre, and upon the death of La porte, 1841, he became its manager. He retained the policy of his predecessor and presented the ballet to the neglect of the opera. In this way he quarreled with and lost the performers who had been attached to the theatre. He had three profitable years during his engagement of Jenny Lind, but soon after had to close the theatre. With the burning of Covent Garden in 1856 he tried again, but with not much success. After his retirement, in 1863, he returned to his original profession. During his management he introduced into England
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