a strong and pervading tinge of serious formalism during nearly a century of its earliest application to secular purposes, even to those of dramatic expression. The following quotations, first from Lulli's overture to 'Thésée' (1675), and next from that to 'Phaeton' (1683), will serve to indicate the style and form of the dramatic prelude as fixed by him. They are scored for stringed instruments. The overture to 'Thesée' begins as follows:—
This introduction is carried on for 16 bars further, with a repeat, and is followed by a movement 'Plus vite' (in all 33 bars), commencing as follows:—
The overture to 'Phaeton' starts thus:—
8 bars more follow in similar style, ending on the dominant—with a repeat—and then comes the quick movement, in free fugal style, commencing thus:—
![<< \new Staff { \override Score.TimeSignature #'stencil = ##f \time 2/2 \partial 2 << \new Voice \relative g'' { \stemUp r8 g g[ g16 f] | e8 e e f16 e <d b>4. q8 | e[ c] g8.[ g16] <g g,>4 <b g>8. q16 | e8. d16 c8. b16 a4 ~ a16 c d e | s4_"etc." }
\new Voice \relative c'' { \stemDown s2 | r8 c c d16 c r8 g g g16 f | e8[ e16 d] c[ d e f] d8[ d d d] | g8[ <g e>16 f] g[ f g e] c8[ a16 b] c[ b c a] }
\new Voice \relative c'' { \stemDown s2 s1 c8[ c] e[ c] s2 | s f,4 f8 f } >> }
\new Staff { \clef bass << \new Voice \relative g { \stemUp s2 | r2 r8 g g g | c c c c b8[ b16 a] g[ a b g] | c4 c8 c a[ f16 g] a8[ a] | s4 }
\new Voice \relative g { \stemDown s2 | R1 r2 r8 g g g | <e g>[ c16 d] q[ d q c] f8[ f f f] } >> } >>](http://upload.wikimedia.org/score/n/r/nrqwb1m700to9o5zkjlsbubu53324a6/nrqwb1m7.png)
There are 22 more bars of similar character, followed by a few marked 'lentement,' and a repeat.
In illustration of Lulli's influence in this respect on Purcell, the following extracts from the overture to Purcell's latest opera, 'Bonduca' (1695), may be adduced. It opens with a slow movement of 14 bars, beginning as follows:—
The Allegro commences thus:
This is carried on for 67 bars further, and merges into a closing Andante of 9 bars:—
