They start playing the march first with the base line only, then at each repeat another part is added until the main theme joins. So from start to end, it's actually the same march played over and over again. Very smart arrangement.
ENFIN un cameraman qui a le génie de filmer l'entrée successive de chaque groupe d'instruments révélant comment cette mélodie extraordinaire a été composée
Le réalisateur a placé astucieusement un cadreur ( je préfère les mots : cameraman ou camera-woman 😂 ) près de chaque pupitre instrumental ! En plus d’être un fin technicien c’est aussi un fin mélomane car quelle superbe vidéo musicale ! Et chapeau bas à… Lully 👍👏
This plays automatically when I open my garage doors, I have yet to convince my neighbours to give a courteous bow. At the moment it's just the cat and he just gives a curious look.
Very cool version of one of my fave tunes ever. It begins subdued and hesitant. It builds up slowly, you wait for that bombastic surge. Then very organic and clean. I like this a lot! Thank you so much for´this! Wonderful!
I remember studying Jean Baptiste Lully in music history class in college. I remember saying to my professor how much I enjoyed his compositions, and my teacher assured me that many other people like his works too!
I first heard this piece years ago in the film ‘Tous les Matins du Monde’, with Gerard Depardieu in the lead role, conducting, staff in hand, as Lully would have done. I was enchanted by the music and the whole performance - it seemed so familiarly baroque yet mysteriously remote, in time as well as place. This performance takes it to new heights. Lully’s artistry brought to life across nearly 450 years with the use of gorgeous period percussion instruments, the music arranged to slowly build up, like an Ottoman army approaching from the distance and camping before the gates. Beautiful arrangement, beautiful performance.
Exact ! La scène du film " Tous les matins du monde" a été tournée à Paris dans la Grande Galerie de la Banque de France (Hôtel de Toulouse)...Très beau film avec la participation de Jordi Savall...
That huge instrument is called a Turkish Crescent. I always thought it was an Ottoman invention for the Mehteran bands but reading about it blew my mind as I found out that it has Turkic origins, brought from Central Asia all the way to Anatolia, it was originally used by Turkic Tengrist Shamans for ceremonies around fire.
Jean Baptiste Lully, born Italian but worked in the French Court, wrote this spirited and delightful March for the Turkish Ceremony. Notice the predecessor to the conducting baton, a heavy staff to establish and keep a steady tempo. (And the conducting staff that led to Lully's death.) Also, notice the baroque bassoon and flutes and the large staff with bells. This short, uplifting composition is sure to lift your mood!
Votre performance de Lully est la meilleure ! Joué à un haut niveau - des professionnels! Dans votre orchestre, toutes les personnalités sont brillantes et individuelles.
Straordinario Lully.. Dopo due secoli dove siamo finiti, cosa abbiamo perso...ogni volta che lo risentiamo ci si accorge del vuoto di questo tempo.. giù il cappello signori..
the original of this is outstanding. And I love this version as well. The last stanza is very clearly the original, however the remainder is an excellent lead up to that. It is perfect. You can truly imagine yourself in a procession of the Sultan's Palace or in his train as he goes elsewhere and his domains. An excellent evoking piece of music.
"Cevgan" played by the crotales player must be one of a kind.. Cevgan is a unique Ottoman Mehteran Band musical instrument with chiming bells and horse tail. Rather interesting to see it being used so ingeniously by this great orchestra. Thanks to performers
@@pascalbrebion6682 it is still using nearly all around of europe, germany italy... Schellenbaum search it , ottoman had first military band in the world
Exactly I agree. Unfortunately nobody knows this. Mozart has been heard and yes he is a great composer. but Lully is a very, very important composer too. but even classical music lovers do not know this.
@@rinmatsuoka4677 müthiş. Yanlış anlamayın ama Jean Baptiste Lully’i bilen birine denk gelmeme pek sevindim. Klasik müzik dinleyenler bile bilmiyor. Ben Lully’e biraz takınyılım da o yüzden ☺️ ben müzik öğretmeniyim fakat, Lully’i bilmeyen bu marşı hayatında duymamış olan yüzlerce müzik eğitimcisi bile bulurum. Üzücü bir durum. Bilmenize nedense pek sevindim. 😊
Antoine Durandy But other sources say that This march was requested by Louis XIV after a Turkish ambassador had visited Paris. In the time of the French-Ottoman Alliance.
Youssef Tammouni But the most credible sources state that it was made to Mock ottomans that visited France, and shortly after it was written for a play with characters dancing funnily and wearing huge round hats (mocking the Turkish sultan)
March for the Turkish Ceremony (Marche pour la cérémonie des Turcs) was written by Jean-Baptiste Lully in 1670. It is taken from the ninth comedy-ballet entitled « Le Bourgeois Gentilhomme » by the playwright Molière. Comedy-ballet is a combination of spoken comedies, singing, and dancing. This form was desired by king Louis XIV in order to sew together theater, music and dance without breaking the thread of the piece. Context: The King received the emissary of the Grand Turk represented by Suleiman Aga in 1669 but the diplomat's clumsiness and casualness turned into a caricature. It was then that the famous « Turkish ridiculous ballet » was born. The comedy-ballet is a veritable reservoir of the processes that Jean-Baptiste Lully will find in lyric tragedy. She is entirely instrumental and is intended to be danced. So it’s ballet music. To heighten the irony of this scene, the composer employs all the instruments at his disposal and uses also employs percussion with oriental sounds. The march is structured around two repeated musical phrases. From the first notes, everything is done to create a solemn character as the key of G minor, the dotted rhythms similar to opera overtures and supposed to represent the march of the Sun King. This colored piece also includes a small tessitura of which the repetitions offer a journey of exploration of the timbre in the composition. *Lucien*
More sound from the viola voices! After all, the French baroque employs two of them. ;) Let that inner harmony shine! Though it seems here that the top viola voice is being played by violins (which would be 2nd violin) while the actual violas are playing the lower line.
Mes amis Armeniens detestent cette marche !! Quand on est du côté du manche, c'est plus aisé !! Prodigieux rendu d'une prodigieuse marche !! Bravo maestro Lulli !! Devenu Lully par ecrit de Louis le quatorzieme !!❤❤❤❤❤
So interesting to see a violinist playing left handed. That's so rare. I imagine the instrument would have to be constructed as a mirror image of a standard violin and strung in reverse.
Ce qui n’est pas forcément l’intérêt de la pièce. Les parties de Haute-contre, Taille et Quinte ont toujours été des parties qu’on peut s’en séparer et considérer comme moins essentielles. Je pense que l’immense quantité de partitions réduites d’opéras baroques français soutient cette idée.
@@tenor-haute-contre au contraire je trouve que c'est montrer leur importance dans l'assise du thème principal et que celle ci n'aurait pas la même puissance sans eux
Close your eyes... You see the Turkish delegation approaching from a distance. At exactly 01:48 minutes into the music, the Turkish delegation passes in front of you... We can say this music is the first and most significant piece where elements of Ottoman military band music are distinctly observed in Western music.
