L'Apothéose de Lully

Damibaru: first recording; imslp

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'''''L'Apothéose de Lully''''', or '''''Concert instrumental sous le titre d'Apothéose composé à la mémoire Immortelle de l'incomparable Monsieur de Lully''''' (English: ''The Apotheosis of Lully'' or ''Instrumental concert with the title of an [[Apotheosis]] composed in the immortal memory of the incomparable Monsieur de Lully'') is a [[trio sonata]] composed by [[François Couperin]]. The piece was first published in [[1725 in music|1725]], a year after the [[L'Apothéose de Corelli|Apotheosis of Corelli]], to pay homage to [[Jean-Baptiste Lully]].<ref></ref>
==Background==
[[File:Paul Mignard - Jean-Baptiste Lully.jpg|thumb|Jean-Baptiste Lully]]
Lully, a master of French Baroque music and the father of the [[French overture]], famously disavowed any Italian influence in French music of the period. Couperin, however, wanted to accomplish a ''réunion des goûts'': reconciling the national distinctions of style, tradition, and forms of interpretations that differed between France and Italy. He said, "I have always esteemed meritorious things irrespective of author or nation."<ref></ref> Despite hailing from a large family of French musicians, Couperin is in fact credited with bringing the trio sonata form, greatly developed in Italy by [[Arcangelo Corelli]], to France. In 1924, he published the Apotheosis of Corelli in 1924, as a tribute to the symmetrical and precise Italian Baroque style that made Corelli an Italian Baroque master. A year later, the Apotheosis of Lully was first published, "to do honour to the greatest man in music whom the preceding century had produced,"<ref></ref> and to reconcile the differences between French and Italian Baroque music.

In 1949, the piece was featured on the first [[microgroove]] record to be produced in Europe, recorded by [[André Charlin]] and conducted by [[Roger Désormière]].<ref>Liquid error: wrong number of arguments (given 1, expected 2)</ref>

Couperin himself called ''L'Apothéose de Lully'' a "harmonic [[panegyric]]"<ref></ref> It has been called "the composer’s artistic and aesthetic manifesto"<ref>Liquid error: wrong number of arguments (given 1, expected 2)</ref> and "one of the final flowerings of [Couperin's] ambition."<ref></ref>

==Structure==
The piece is originally scored for two treble voices and continuo. Louis Hüe, who engraved the 1725 publication, recommended performing the Apotheosis with two harpsichords, saying that "I find it is often easier to bring these two instruments together, than four people" (i.e. two violinists, a cellist or violist, and a harpsichordist).<ref></ref>

The piece, like ''L'Apothéose de Corelli'', is a characteristic example of [[program music]]. Couperin shows Lully in the [[Elysium|Elysian Fields]], performing music in the delicate and well-ornamented French style. A graceful air follows, after which [[Mercury (mythology)|Mercury]] descends to Lully to warn him of [[Apollo]]'s imminent arrival. Mercury's descent, with quick notes in the treble lines, is characteristic of Lully's own techniques for composing Zephyr and windlike passages.<ref></ref> Apollo's descent is notably nobler than Mercury's. Rumbles and laments are heard from Lully's jealous contemporaries, after which Lully ascends to [[Parnassus]]. Corelli and the Italian Muses welcome him in typical Italian Baroque style: instead of writing ''lentement'' to indicate the tempo, Couperin writes the Italian ''largo''; the movement is instructed to be played with "Notes égales, et marquées," or with equal and marked notes, instead of with the lightly-swung feeling typical of French Baroque music; even the clef of the treble instruments is changed to the standard clef favored in Italy.<ref></ref> Lully thanks Corelli in starkly contrasting French style. Apollo then argues that musical perfection can be created only by reconciling the French and Italian styles. He shows this in an overture that combines both styles: the first treble instrument uses the French clef, for example, while the second treble instrument uses the Italian clef. Parts of the overture are in Lully's French overture style, while other sections are characteristic of Corelli's trio sonata. Throughout the overture, the Muses, depicted by the treble instruments, are often playing in unison, indicating ambivalence of style.<ref></ref> Two airs follow, with Lully and Corelli alternating melody, accompaniment, and style. The Apotheosis of Lully ends with peace at Parnassus and a newly-coined, four-movement ''Sonade en trio''—Couperin, and his French muses, argue that the French spelling of "sonata" should mirror that of "ballade" and "serenade,"—showing that a ''réunion des goûts'' is not only possible but can be entirely successful.

Most movements have descriptive titles:

#Lully aux Champs-Élisés, concertant avec les Ombres liriques (Lully in the Elysian Fields performing with musicianly Shades)
#Air pour les Mêmes (Air for the same performers)
#Vol de Mercure aux Champs Élisés, pour avertir qu’Apollon y va descendre (Mercury's flight to the Elysian Fields to warn that Apollo is about to descend)
#Descente d’Apollon, qui vient offrir son violon à Lully, et sa place au Parnasse (The Descent of Apollo who comes to offer his violin to Lully and a place on Parnassus)
#Rumeur souteraine, causée par les Auteurs contemporains de Lully (Subterranean rumblings from Lully's contemporaries)
#Plaintes des Mêmes, pour des Flûtes, ou des Violons très adoucis (Laments from the same, played by flutes or very sweet-toned violins)
#Enlévement de Lully au Parnasse (The raising of Lully to Parnassus)
#Accüeil entre doux et agard, fait à Lully par Corelli, et par les Muses italiénes (Welcome, half friendly and half hostile, given to Lully by Corelli and the Italian Muses)
#Remerciment de Lully à Apollon (Lully's thanks to Apollo)
#Apollon persuade Lully, et Corelli, que la réunion des Goûts François et Italien[s] doit faire la perfection de la Musique. (Apollo persuades Lully and Corelli that the reunion of French and Italian styles must create musical perfection)
#Air léger, Lully joüant le sujet, et Corelli l’acompagnant (Air léger: Lully playing the subject, and Corelli accompanying)
#Second Air, Correli joüant le sujet à son tour, que Lulli acompagne (Second Air: Corelli playing the melody in turn, while Lully accompanies)
#La Paix du Parnasse, faite aux conditions, sur la Remontrance des Muses Françoises, que lorsqu’on y parleroit leur langue, on diroit dorénavant Sonade, Cantade, ainsi qu’on prononce Ballade, Sérénade, &c. (The Peace of Parnassus, which, following a protest from the French Muses, is made on the condition that when their language is spoken, one will henceforth say ''Sonade'' and ''Cantade'', as one says ''Ballade'' and ''Sérénade'', etc.)<ref></ref>

==Works Cited==
*[[Frederick Niecks|Niecks, Frederick]] (1907). ''[https://ift.tt/2HMMW0S Music in the Last Four Centuries: A Contribution to the History of Musical Expression]''. United Kingdom: Novello and Company Ltd.
*Sadler, Graham (2017). [https://ift.tt/2VbE9J5 L'Apothéose de Lully]. ''[[Hyperion Records]]''.
*[[David Tunley|Tunley, David]] (2016). ''François Couperin and 'The Perfection of Music'''. United Kingdom: Taylor & Francis.
==References==
<references />
==External Links==
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[[Category:Compositions by François Couperin]]
[[Category:1725 compositions]]
[[Category:Trio sonatas]]

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