the richer and more affecting uses of melody, especially as characterizing personages or sentiments. This improved the technique of the recitative and restrained the drift toward merely pretty tunes. He sought to captivate by ingenious ensemble climaxes, by using dances freely, and by a novel amount of instrumental numbers. He did much to unfold the latent possibilities of the overture, incidentally advancing the capacity of the operatic orchestra. As a composer, he often showed power in stately and noble effects, and not a little ingenuity in devising fresh accompaniments. In practical success with the public he far outshone all his contemporaries and immediate successors, remaining a dominant influence for many decades.
Pierre Perrin (d. 1675), born in Lyons, came to Paris about 1645, was a
dependent of the Duke of Orleans, was involved in many difficulties and spent
some time in prison, published poems, wrote several librettos that Cambert set
to music, and died in poverty. He was a clever dancer and singer, with some
musical ability.
Robert Cambert (d. 1677), born at Paris in 1628, was a pupil of the court-clavichordist Chambonnières, served as organist at St. Honoré, and in 1665 became musician to the Queen Dowager. Besides writing various detached pieces, including motets, songs and preludes, he joined Perrin in some operatic works, first in 1659-61 (La pastorale, Ariane, Adonis), and again, after Perrin in 1669 had secured an opera-monopoly and the first public opera-house had been built, in 1671 (Pomone, Les peines et plaisirs de l'amour). In 1672 Lully wrested the monopoly from Perrin, and Cambert betook himself to London, where he died in some court position. Only fragments of his works have survived, but these show him as a correct and careful writer for the time.
Jean Baptiste Lully (d. 1687) was born in Florence in 1633, probably of noble parents. He was taught the violin and lute as a child. Catching the notice of the Duke of Guise, he was taken to Paris and installed in the household of Mlle. de Montpensier, at first as a kitchen-boy. His musical talent soon led to his advancement, finally into the private band of Louis XIV., of both divisions of which he became leader, raising the whole establishment to high efficiency. From 1653 he was court-composer, becoming through his ballets one of the king's chief favorites. In 1672 he secured the exclusive privilege held by Perrin, and, in a new theatre specially built, began the series of about 15 operas by which his fame was made. In 1681 he became court-secretary and was ennobled. His death was occasioned by a blow upon the foot from his cane or baton while conducting a rehearsal. In character he presents a curious mixture of unquestionable ability and mere dexterity as a courtier. He was indefatigable, excitable, imperious, proud and unscrupulous, but he had such gifts as player, composer, organizer and director that he is called the founder of the French opera. His leading operas were Alceste (1674), Isis (1677), Persée (1682) and Armide (1686). The success of some of them was due to the skillful librettos of Quinault (d. 1688). From 1658 he wrote over
