Jean Baptiste Luly Research Paper
Jean-Baptiste Lully continued to write music until he passed away in 1687 as a result of an injury sustained while conducting Te Deum, one of his own works. Somehow, he struck his foot with a long conducting staff during the performance for King Louis XIV’s get well concert. The wound continued to get increasingly more infected and he eventually developed Gangrene. Lully’s love for dance resulted in him refusing to amputate the infected leg. The infection then spread to the greater part of his brain which resulted in his untimely death. Jean-Baptiste Lully was buried in the Church of Notre Dame des Victoires, Quebec.
HOW PATRONAGE HAS DEVELOPED
Patronage has developed massively between the seventeenth and eighteenth century due to increased knowledge, education, more financial aid and the growing awareness of patronage throughout Western Europe. Royalty and Nobility continued to extend their wealth to deserving composers and artists during this time. Due to the generous giving of the wealthy social class, the arts flourished immensely. In the seventeenth and eighteenth centuries Royal Courts were described as a vast marketplace for composers …show more content…
or entertainers. A major reason these Royal Courts were still remaining was the distribution of patronage. These various Royal Courts were used as meeting places for Nobles, Royals, and prestigious wealthy persons to witness and discover talent. This practice of discovering talent is similar to today’s proceedings, as artists and composers are also discovered through live performances or even online using extremely modern interfaces of the twenty-first century, such as ‘YouTube’ and ‘Spotify’. During the Baroque Era, Composers usually worked on commission, this changed in the late Classical Era as composers or artists were paid a fixed weekly wage. This was an important development for the composer. Archangelo Corelli and Jean-Baptiste Lully were two of the first composers to have had patrons and prevailed in their musical careers astoundingly. This wouldn’t have been possible without the support, sponsorship and protection of Cardinal Pietro Ottoboni and Mme de Montpensier.
CONCLUSION
In writing and researching the topics above, I have learnt a substantial amount of knowledge about patronage and the history behind it.
It played a significant role in the lives of composers and the publishing of works. If there had been no Patronage in the seventeenth and eighteenth century, Many works and pieces of music would not have been composed or published and therefore would not have been able to spread or be distributed throughout Western Europe and Worldwide due to lack of financial aid. There is viable evidence supporting this statement. Personally, I am glad that the act of Patronage has not slipped into oblivion. It is Important that the tradition of the patronage is preserved and does not die out as it is compulsory in the aid of composing and distributing of new pieces of music, art and scientific
knowledge.
HOW PATRONAGE HAS DEVELOPED
Patronage has developed massively between the seventeenth and eighteenth century due to increased knowledge, education, more financial aid and the growing awareness of patronage throughout Western Europe. Royalty and Nobility continued to extend their wealth to deserving composers and artists during this time. Due to the generous giving of the wealthy social class, the arts flourished immensely. In the seventeenth and eighteenth centuries Royal Courts were described as a vast marketplace for composers …show more content…
or entertainers. A major reason these Royal Courts were still remaining was the distribution of patronage. These various Royal Courts were used as meeting places for Nobles, Royals, and prestigious wealthy persons to witness and discover talent. This practice of discovering talent is similar to today’s proceedings, as artists and composers are also discovered through live performances or even online using extremely modern interfaces of the twenty-first century, such as ‘YouTube’ and ‘Spotify’. During the Baroque Era, Composers usually worked on commission, this changed in the late Classical Era as composers or artists were paid a fixed weekly wage. This was an important development for the composer. Archangelo Corelli and Jean-Baptiste Lully were two of the first composers to have had patrons and prevailed in their musical careers astoundingly. This wouldn’t have been possible without the support, sponsorship and protection of Cardinal Pietro Ottoboni and Mme de Montpensier.
CONCLUSION
In writing and researching the topics above, I have learnt a substantial amount of knowledge about patronage and the history behind it.
It played a significant role in the lives of composers and the publishing of works. If there had been no Patronage in the seventeenth and eighteenth century, Many works and pieces of music would not have been composed or published and therefore would not have been able to spread or be distributed throughout Western Europe and Worldwide due to lack of financial aid. There is viable evidence supporting this statement. Personally, I am glad that the act of Patronage has not slipped into oblivion. It is Important that the tradition of the patronage is preserved and does not die out as it is compulsory in the aid of composing and distributing of new pieces of music, art and scientific
knowledge.