Throughout the seventeenth century, the musical world in France was dominated by the argument that raged over the conflicting merits of the French and Italian styles. Following the death of Lully in 1687, some French composers began to seek to reconcile the stylistic argument. The catalyst for this new, pragmatic approach was the publication of the trio sonatas of Arcangelo Corelli, in Rome between 1681 and 1695. Enormously influential, these seminal works swept through Europe like wildfire. Among those in France to succumb to the Corellian conquest was the young François Couperin, who was referred to by one French pedagogue as the "passionate servant of the Italian." In fact, while never denying the Italian style, Couperin's elegant, refined music constantly reminds the listener of his nationality. In his mature years, Couperin would consciously seek a synthesis of the two styles, or "Goûts" (tastes), a development which would be consummated in two late chamber works, the Apothéoses dedicated respectively to the two great champions of the opposing styles, Lully and Corelli. The Lully was published in 1725, a year after the Corelli Apotheosis. It is scored in trio sonata format for two violins and basso continuo (viol and harpsichord). There are 13 movements, all bearing descriptive titles that betray the programmatic nature of the work. Thus, in the opening movement one finds Lully in the Elysian fields, in grave discourse with the shades that inhabit it. Later, Couperin depicts gestures typical of those found in Lully's operas (flashing scales to depict the flight of Mercury). While never losing its elegance, the music is often full of humor, as in the movement in which Lully is elevated to Parnassus. Here, little Italianate gestures remind one that Lully, the great champion of French music, was himself Italian-born. On Parnassus, Lully and Corelli meet and are persuaded by Apollo that the reunion of French and Italian music will achieve a musical perfection hitherto unknown. After each plays an air in his own style (Lully, first violin, and Corelli, second violin) in the final movement, "The Peace of Parnassus," the Muses of Italian and French music come together to produce the desired union.

© All Music Guide