Eitner, VI, 244 ; F\u00e9tis, V, 372 ; Cioranescu, 56111; OHR, 776.<\/i><\/p>\n
First edition. The fine engraved frontispiece by Jean Dolinar after a drawing by Jean B\u00e9rain shows a dramatic stage design relating to the theatre piece.<\/p>\n
The libretto of the last opera by Lully – by some considered his master piece – and the hight of his collaboration with Philippe Quinault ; the opera was first presented at the Palais Royal on 15 February 1686, in the presence of the Grand Dauphin (1661-1711), the first-born son to King Louis XIV and Maria Theresa of Austria The subject, largely inspired by Torquato Tasso’s Gerusalemme liberata<\/i>, was personally chosen by the king himself. The libretto is based on chants II, V, X and XIV of the \u00f4em by Tasso, while chant IV is entirely due to Philippe Quinault. The musical scores were published the same year by Christophe Ballard who published a large number of court plays and music.<\/p>\n
“Dans Armide…, la trag\u00e9die lyrique, construite uniquement sur le r\u00e9citatif florentin greff\u00e9 sur le vers alexandrin fran\u00e7ais, se d\u00e9veloppe d\u00e9sormais sous la forme de l’air, avec un naturel parfait, en atteignant de larges d\u00e9veloppements tant au point de vue vocal qu’instrumental. De cette fa\u00e7on, la r\u00e9forme de Lully est pleinement r\u00e9alis\u00e9e : l’ \u00ab air de ballet \u00bb compl\u00e8te la grande forme composite qui pr\u00e9sente \u00e0 son tour deux formes distinctes : la forme purement chor\u00e9graphique et la forme symphonique. L’ouverture a atteint ici son aspect le plus accompli et le plus d\u00e9finitif, en engendrant une forme qui sera ensuite adopt\u00e9e par les autres compositeurs. L’Armide de Lully est donc tr\u00e8s importante non seulement \u00e0 cause de sa valeur intrins\u00e8que, mais aussi \u00e0 cause de sa signification historique particuli\u00e8re” (Dictionnaire des \u0153uvres).<\/p>\n
Armide<\/i> was later used by Diderot during the Querelle des Bouffons (also known as the War of the Comic Actors) , a controversy opposing the latter him against Rousseau about the relative merits of French and Italian opera. Jean-Philippe Rameau praised the exquisite adaptation of Armide’s monologue into music by Lully.<\/p>\n
Excetpional copy bound at the time for Fran\u00e7ois-Michel Le Tellier, marquis of Louvois (1641-1691), famous minister of French King Louis XIV. Fran\u00e7ois-Michel Le Tellier (1641-1691), French secretary of War, was instrumental to the military success during the reing of Louis XIV. Under his leadership the French army was reformed and he increased the troups to over 400 000 soldiers who subsequently fought four wars between 1667 and 1713. Binding slightly restored, covers somewhat spotted.<\/p>\n","protected":false},"excerpt":{"rendered":"
4to (243 x 183 mm) engraved frontispiece, 4 nn.ll., 54 pp., 1 blanc leaf at end. Contemporary French red morocco, triple gilt filet on covers, central coat of arms of the Marquis of Louvois (OHR 776), spine gilt with raised bands, compartments decorated with Royal fleur-de-lys, gilt edges.<\/p>\n","protected":false},"featured_media":83782,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[544],"product_tag":[1270,568],"class_list":{"0":"post-83789","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-literature","7":"product_tag-armoured","8":"product_tag-music","9":"pa_auteur-lully-jean-baptiste-de-2","10":"pa_type-de-livre-printed-book","12":"first","13":"outofstock","14":"shipping-taxable","15":"purchasable","16":"product-type-simple"},"acf":{"artist":" Jean Baptiste de LULLY","chapeau":"Bound in contemporary red morocco for Michel Le Tellier","adresse_bibliographique":"Paris, Christophe Ballard, 1686","book_type":"Printed book","provenance":"","afficher_prix":""},"yoast_head":"\n