Louis XIV was born at the time when Père Mersenne published his Harmonie universelle, when Nicolas Formé had his Missa duobus choris printed. From the coronation of the young king in June 1654, and especially from the moment he "reigned and governed" in 1661, a new wind blew through French music. To please this sovereign who was passionately in love with music and entertainment, new genres emerged, glorifying the figure known as the new Alexander: grand and petit motets, comédie-ballets, operas... in a great sweep that led first to the creation of the tragédie lyrique in 1673 and then, in 1683, to the rebuilding of the Chapelle Royale. As a result, all other genres were transformed: harpsichord, organ or lute music, dance music, serious airs and "airs à boire" (drinking songs). In all areas, the figure of Lully, in 1661 appointed "superintendent of the king’s music", is omnipresent: he participated in the revival of religious music, seduced in secular music, constructed musical edifices of hitherto undreamt-of grandeur, and his influence extended far beyond ceremonial music. In this great mutation of French music, he was not alone: at court, Du Mont, Robert, Lambert, Louis Couperin, Nivers etc took part in the movement – and, following them, all the other composers of the kingdom.