[LWV 2]. Ballet des Plaisirs. [Libretto]

Dansé par la Majesté le 4. jour de Febvrier 1655. Divisé en deux parties Dont la premiere contient les delices de la Campagne, & la seconde les divertissements de la Ville.

Paris: Robert Ballard, seul Imprimeur du Roy pour la Musique, 1655.

Small quarto. Modern plain light brown boards. 1f. (recto title, verso blank), 3-28 pp. Fine woodcut headpiece incorporating a stringed instrument, viol, and triangle to first leaf; occasional pictorial woodcut initials and small decorative devices throughout.

Small rectangular 20th century decorative bookplate with initials "H.D." to front pastedown.

Binding slightly worn; endpapers browned. Uniformly browned throughout, heavier to title and final leaf, evidently from previous binding; some signatures splitting at gutter.

First Edition. Schneider pp. 23-25.

A very early work.

"None of Lully's musical autographs has survived, but the many manuscript copies and printed scores provide evidence of the breadth and influence of his creativity. His impressive body of work may be divided into ballets, comédies-ballets, operas and sacred music. His first known works are ballets, a genre to which he first contributed in 1652 with the Mascarade de la Foire Saint-Germain. None of the music is extant, and neither are the Italian vocal pieces he composed at the beginning of his career at court. These include the récit grotesque of the Ballet des bienvenus, the concert in the scene in the underworld from the Ballet de Psyché, récits, dialogues and duets from La galanterie du temps, and almost all the airs and ensembles of L'Amour malade. In these circumstances it is difficult to assess Lully's role between 1655 and 1657, when he emerged as the principal representative of Italian influence in the spectacles in which the young Louis XIV took part." Jérôme de la Gorce in Grove Music Online

With ballet text by French poet, librettist, and playwright Isaac de Benserade (1613-1691). "[Benserade's] art of telling the truth about society people with elegance and dexterity was not only appreciated by the salons and developed in all the current poetic genres – epigrams, madrigals, rondeaux, enigmas, portraits and epitaphs – but was peculiarly suited to the court ballet. Benserade's popularity coincided with Louis XIV's career as a dancer of some talent, and between 1651 and 1669, when the king retired from the stage, Benserade wrote verses for 23 royal ballets." Margaret M. McGowan in Grove Music Online.

Item #31990

Price: $1,800.00  other currencies

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