Question: Who originally set the revised version of Thesee in 1675?

full_context: Document 1: Armide (Gluck): Gluck set the same libretto Philippe Quinault had written for Lully in 1686, based on Torquato Tasso's "Gerusalemme liberata" ("Jerusalem Delivered"). Gluck seemed at ease in facing French traditions head-on when he composed "Armide". Lully and Quinault were the very founders of serious opera in France and "Armide" was generally recognized as their masterpiece, so it was a bold move on Gluck's part to write new music to Quinault's words. A similar attempt to write a new opera to the libretto of "Thésée" by Jean Joseph de Mondonville in 1765 had ended in disaster, with audiences demanding it be replaced by Lully's original. By utilizing "Armide", Gluck challenged the long-standing and apparently inviolable ideals of French practice, and in the process he revealed these values capable of renewal through "modern" compositional sensitivities. Critical response and resultant polemic resulted in one of those grand imbroglios common to French intellectual life. Gluck struck a nerve in French sensitivities, and whereas "Armide" was not one of his more popular works, it remained a critical touchstone in the French operatic tradition and was warmly praised by Berlioz in his "Memoirs". Gluck also set a minor fashion for resetting Lully/Quinault operas: Gluck's rival Piccinni followed his example with "Roland" in 1778 and "Atys" in 1780; in the same year, Philidor produced a new "Persée"; and Gossec offered his version of "Thésée" in 1782. Gluck himself is said to have been working on an opera based on "Roland", but he abandoned it when he heard Piccinni had taken on the same libretto.
Document 2: Thésée (Mondonville): Thésée ("Theseus") is an opera by the French composer Jean-Joseph de Mondonville, first performed at Fontainebleau on 7 November 1765. It takes the form of a "tragédie en musique" in five acts. The opera is a new setting of a libretto by Philippe Quinault, originally set by Jean-Baptiste Lully in 1675. Mondonville's version was not a success and did not get to enjoy its public premiere at the Paris Opera until 13 January 1767, but audience rejected it calling for the restoration of Lully's original music. Mondonville's opera was withdrawn for good after its fourth performance.
Document 3: Thésée: Thésée ("Theseus") is a "tragédie en musique", an early type of French opera, in a prologue and five acts with music by Jean-Baptiste Lully and a libretto by Philippe Quinault based on Ovid's "Metamorphoses". It was first performed on 11 January 1675 by the Paris Opera for the royal court at the Château de Saint-Germain-en-Laye and was first performed in public in April at the Théâtre du Palais-Royal in Paris.
Document 4: Les fêtes de Paphos: Les fêtes de Paphos ("The Festivals of Paphos") is an "opéra-ballet" in three acts (or "entrées") by the French composer Jean-Joseph Cassanéa de Mondonville. The work was described as a "ballet héroïque" on the title page of the printed score. Each act had a different librettist. "Les fêtes de Paphos" was first performed at the Académie royale de musique, Paris on 9 May 1758 and was a popular success. Mondonville recycled material from two of his previous operas for the first two acts, namely "Erigone" (1747) and "Vénus et Adonis" (1752), both originally composed for Madame de Pompadour's Théâtre des Petits Cabinets.
Document 5: Francesco Corbetta: Francesco Corbetta (ca. 16151681, in French also Francisque Corbette) was an Italian guitar virtuoso, teacher and composer. He spent his early career in Italy. He seems to have worked as a teacher in Bologna where the guitarist and composer Giovanni Battista Granata was one of his pupils. He was then attached to the Court of Carlo II, Duke of Mantua in various capacities. He was however frequently granted leave of absence and travelled abroad to Spain probably between 1644-1647 where he amazed the Court in Madrid with his virtuosity; to Germany where he was in the employ of the dukes of Hanover and the Spanish Netherlands, dedicating his fourth book, "Varii scherzi di sonate" to the governor, the Archduke Leopold Wilhelm. According to his obituary the Duke of Mantua recommended him to Louis XIV; although some source claim that he taught Louis the guitar this is unlikely as the post is known to have been held by Bernard Jourdan de La Salle from 1650 when Louis was 12 years of age until 1695. Although Corbetta may have visited Paris earlier he probably did not settle there before 1654. In 1656 he took part in the ballet "La galanterie du temps" by Jean-Baptiste Lully. He came to the attention of the English King Charles II in exile and at the Restoration accompanied him to London. During the last 20 years of his life he divided his time between London and Paris. He is regarded as one of the greatest virtuosos of the Baroque guitar.
Document 6: Thémistocle: Thémistocle ("Themistocles") is an opera by the French composer François-André Danican Philidor, first performed at Fontainebleau on 13 October 1785. It transferred to the Académie Royale de Musique, Paris (the Paris Opera) on 23 May 1786. It takes the form of a "tragédie lyrique" in three acts. The libretto, by Étienne Morel de Chédeville, is based on the life of the ancient Greek statesman Themistocles.
Document 7: Étienne Moulinié: Étienne Moulinié (10 October 1599 – 1676) was a French Baroque composer. He was born in Languedoc, and when he was a child he sang at the Narbonne Cathedral. Through the influence of his brother Antoine (died 1655), Moulinié gained an appointment at court, as the director of music for Gaston d'Orléans, the younger brother of the king. For this post he wrote sacred and secular music, for voice or voices and lute or continuo. He also wrote music to accompany the "ballet" or other dances. He taught Gaston's daughter, Mlle de Montpensier. Moulinié worked for Gaston until the latter's death in 1660, at which point he was forced to find new employment. For this he returned to his birthplace of Languedoc.
Document 8: Jean-Baptiste Lully: Jean-Baptiste Lully (] ; born Giovanni Battista Lulli ] ; 28 November 1632 – 22 March 1687) was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France. He is considered a master of the French baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in 1661.
Document 9: Jean-Philippe Rameau: Jean-Philippe Rameau (] ; (1683--)25 1683 – (1764--)12 1764 ) was one of the most important French composers and music theorists of the Baroque era. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside François Couperin.
Document 10: Jean-Baptiste Senaillé: Jean Baptiste Senaillé (23 November 1687 in Paris – 15 October 1730 idem) was a French born Baroque composer and violin virtuoso. His father was a member of Les Vingt-quatre Violons du Roi. Senaillé studied under Jean-Baptiste Anet, Giovanni Antonio Piani and in Italy under Tomaso Antonio Vitali and imported Italian musical techniques and pieces into the French court. He wrote around 50 violin sonatas. He is most well known for a fast 2/4 movement from one of these sonatas, "Allegro Spiritoso", which has had versions published transcribed for a wide variety of instruments, from violoncello to bassoon to euphonium.
Document 11: Philippe Courbois: Philippe Courbois (fl. 1705-1730) was a French Baroque composer. It is commonly stated that he was maître de musique of the Duchess of Maine, but Michele Cabrini convincingly refutes this claim in his edition of Courbois's cantatas. At least three of his masses were performed for the King of France at Versailles. Sometime before 1710, Courbois published a book of seven cantatas with texts by Louis Fuzelier, who would later write the libretto of "Les Indes Galantes." It is these cantatas for which he is most famous today
Document 12: Ballet (music): Ballet as a music form progressed from simply a complement to dance, to a concrete compositional form that often had as much value as the dance that went along with it. The dance form, originating in France during the 17th century, began as a theatrical dance. It was not until the 19th century that ballet gained status as a “classical” form. In ballet, the terms ‘classical’ and ‘romantic’ are chronologically reversed from musical usage. Thus, the 19th century classical period in ballet coincided with the 19th century Romantic era in Music. Ballet music composers from the 17th–19th centuries, including the likes of Jean-Baptiste Lully and Pyotr Ilyich Tchaikovsky, were predominantly in France and Russia. Yet with the increased international notoriety seen in Tchaikovsky’s lifetime, ballet music composition and ballet in general spread across the western world.
Document 13: Louis XIV of France: Louis XIV (5 September 16381 September 1715), known as Louis the Great ("Louis le Grand ") or the Sun King ("le Roi Soleil "), was a monarch of the House of Bourbon who reigned as King of France from 1643 until his death in 1715. His reign of 72 years and 110 days is the longest recorded of any monarch of a sovereign country in European history. In the age of absolutism in Europe, Louis XIV's France was a leader in the growing centralization of power.
Document 14: Thésée (Gossec): Thésée ("Theseus") is an opera by the composer François-Joseph Gossec, first performed at the Académie Royale de Musique (the Paris Opéra) on 1 March 1782. It is a setting of a revised version in four acts of a libretto by Philippe Quinault, originally set by Jean-Baptiste Lully in 1675.
Document 15: Le feste d'Apollo: Styled a "festa teatrale", "Le feste d'Apollo" consists of a prologue and three self-contained acts on the model of French "opéra-ballet" (the court of Parma was passionately interested in French culture). Gluck knew the Archduchess Maria Amalia well as she had sung in two of his operas, "Il Parnaso confuso" and "La corona", in Vienna. The composer recycled a lot of music from his earlier operas in the score of "Le feste". In fact, the whole of the third act, "Orfeo", is a shorter reworking of his most famous piece, "Orfeo ed Euridice" (1762). The overture to the prologue is taken from "Telemaco". Gluck later reused some of the choruses in two of the operas he wrote for Paris, "Iphigénie en Aulide" and "Iphigénie en Tauride".
ground_truth: Jean-Baptiste Lully