John Greig.

The musical educator; a library of musical instruction by eminent specialists (Volume 2) online

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Orfto in February, 1647, was about 500,000 livres (about ^60,000).



THE HISTORY OF MUSIC a-i

nature such as one would expect from a man of his character. The most important of them
was the extension of the overture ; but in many other directions as well, his practical know-
ledge of stage craft stood him in good stead. It is probable that Lully in his heart did not
care two straws about Peri's and Cambert's " Ancient Greeks," but he had the actor's quick
eye for striking effects, and the Italian's innate appreciation of the beautiful ; and to these he
appears to have trusted for success, rather than to the observance of any abstract aesthetic laws.
This attitude towards music on the part of Lully has remained a leading characteristic of the
writers of French opera ever since, and Meyerbeer, Halevy, Rossini (in William Telt), and
Wagner (in Rienzi), have merely continued traditions originating with Lully. Between 1673
and 1687 Lully produced the following five-act operas, besides a quantity of other music
Cadmus, Alceste, Theseus, Atys, Prospering Perseus, Phaton, Amadis, Roland, and Armida.
As has been said, Lully was essentially a seeker for " effect." As a choral writer, he is not so
fine as Monteverde, and in dealing with the more poetic aspects of music he is seldom seen at
his best ; but when the situation demands something gay, martial, or terrifying, Lully shows
himself the true precursor of French Grand Opera.



[To be continued."]



END OF VOL II.



Printed by HazM, Watson Jc Viney, Ld., London and Ayle&ury.




A 000142205 4



UNIVERSITY OF CALIFORNIA LIBRARY

Los Angeles
This book is DUE on the last date stamped below.



APR 1 e 1974



Form L9-Series 4939







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Online LibraryJohn GreigThe musical educator; a library of musical instruction by eminent specialists (Volume 2) → online text (page 20 of 20)