Le Roi Danse Baroque Music | J. B. Lully

Описание: 📜Complete classical music playlist:    • Best of Classical Music | De Carli  

00:00 - Armide Opera In 5 Acts With Prologue: Plus j'observe ces lieux
03:14 - Armide Opera In 5 Acts With Prologue: Esprits empressés à nous plaire
04:52 - Triumphe de L'amour (1681): Entrée d'Apollon
07:08 - La Nuit Ballet: Le Roi représentant le soleils levant
08:59 - Isis Opera In 5 Acts With Prologue: C'est lui dont les dieux ont fait choix
10:52 - Triumphe de L'amour (1681): Deuxième air
11:37 - Idylle sur la paix: Air pour Madame la Dauphine
13:38 - Alcidiane Ballet: Ouverture
14:30 - La Nuit Ballet: Ouverture
16:29 - Armide Opera In 5 Acts With Prologue: Que l'éclat de son nom
17:44 - Cordier: La Bocanne primitive
19:22 - Armide Opera In 5 Acts With Prologue: Passacaille
23:15 - Les Amants magnifiques: Entrée d'Apollon
24:12 - Ombre de non amant (Air de cour)
27:04 - Les Folies d'Espagne
29:51 - Le Bourgeois Gentilhomme (1670): Marche pour la cérémonie des Turcs
32:32 - Triumphe de L'Amour (1681): Ouverture
35:57 - Passons nos jours dans ces vergers
37:36 - Xerxes Ballet: Air pour les matelots jouants des trompettes marines
38:57 - Te Deum Motet à deux choeurs
41:09 - Xerxes Ballet: Air pour les postures de Scaramouche
42:18 - Le Bourgeois Gentilhomme (1670): Giourdina
42:46 - Xerxes Ballet: Air pour les docteurs, Frivelins et Polichinelles

Le Roi Danse, directed by Gérard Corbiau in 2000, stands as one of the most sumptuous explorations of 17th-century court culture ever committed to film. At its heart lies the music of Jean-Baptiste Lully, the Italian-born French composer whose audacious scores set the Sun King’s reign ablaze. From the lush opening strains of the French overture to the rousing final dance, Lully’s compositions become the film’s beating heart, guiding every dramatic twist and illuminating the lavish splendor of Versailles. Cinematography and period architecture merge seamlessly with Baroque melodies, as Corbiau’s camera lingers on dancers’ swirling silks in perfect sync with each musical flourish. Set against the backdrop of gilded halls and moonlit gardens, Le Roi Danse unfolds like a living ballet de cour where politics, performance, and personal ambition intertwine. The film draws directly on authentic ballets such as the Ballet de la Nuit, staging Louis XIV’s self-aggrandizing dance as embodiment of solar myth, while Lully’s original manuscripts—carefully restored by musicologists—supply every step. Stately adagios glide into glittering allegros, capturing a world where each choreographed gesture conveys coded messages of loyalty and rivalry among courtiers and artists. Central to Lully’s genius, and to the film’s emotional core, is his invention of the French overture. The score’s opening dotted rhythms suggest regal portent, each measured downbeat echoing the Sun King’s divine right. When the contrasting fugue erupts in rapid, interwoven lines, it channels the hidden tensions beneath velvet cloaks and whispering salons. Corbiau strategically positions these overtures at key narrative moments—before sumptuous banquets or clandestine meetings—to remind audiences that power in Versailles was as much a musical drama as a political one. Lully’s instrumentation in Le Roi Danse blends robust Baroque sonorities with the energy of live performance. Strings—violins, violas, cellos—soar atop basso continuo provided by harpsichord and theorbo, while the bright timbres of recorders, oboes, and flutes weave intricate counterpoints. Timpani and natural trumpets deliver ceremonial gravitas, whereas harpsichord arpeggios and subtle bassoon lines infuse intimacy in private scenes. The film’s sound design prioritizes acoustic authenticity, placing microphones amid musicians to capture the natural resonance of vaulted ceilings and polished parquet floors.
The narrative arc highlights Lully’s collaborations with playwright Molière and librettist Philippe Quinault, whose comédie-ballets changed the landscape of French theater. Le Roi Danse dramatizes their creative process, scoring witty repartee with light staccato strings and punctuating moments of scandalous satire with brassy flourishes. When tragedy strikes—most poignantly in Lully’s fatal foot injury later dramatized through a chilling dissonant motif—the music shifts to minor modes, underscoring the fragility hidden beneath artistic triumph.
Corbiau’s editing aligns with Lully’s phrasing, cutting on musical pulses and using crossfades that mirror ritornello returns, so each camera movement feels choreographed to the score. In a pivotal sequence, a confrontation between rival musicians becomes a duel of violins: bows clash as the orchestra swells in a thrilling pas de deux of sound and sentiment.
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