Jean-Philippe Rameau


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Rameau, Jean-Philippe

 

Baptized Sept. 25, 1683, in Dijon; died Sept. 12, 1764, in Paris. French composer and music theoretician.

The son of an organist, Rameau served as an organist in various churches until 1738. In 1723 he moved to Paris, where he became a court composer in 1745. He wrote 48 miniatures for harpsichord (three collections published in 1706, 1724, and c. 1728), including program pieces and dances (for example, the allemande, courante, gigue, sarabande, tambourin, rigaudon, gavotte, and minuet), in which he emphasized and at the same time poeticized the dance element. Although he followed the traditions of the French harpsichord style associated with F. Couperin, Rameau also endeavored to go beyond chamber music and develop a more ornamental style.

Despite his dependence on the conventions of French aristocratic court opera, in his works for the stage Rameau endeavored to deepen dramatic expressiveness, intensify the action, and clarify and democratize the musical language (for example, the lyric tragedies Hippolyte et Aricie [1733], Castor et Pollux [1737], and Dardanus [1739], as well as the opera-ballet Les Indes galantes [1735]). By integrally combining the achievements of French and Italian music, Rameau contributed to the crystallization of the classical musical style and, to a significant degree, laid the foundation for C. W. Gluck’s operatic reforms.

Rameau also composed cantatas, motets, and instrumental ensemble works. He was an important scholar, whose theoretical works (including the Treatise on Harmony, 1722) represent a significant stage in the development of the theory of harmony.

WORKS

Oeuvres completes, vols. 1–18. Published under the direction of C. Saint-Saëns. Paris, 1895–1924. (Incomplete.)

REFERENCES

Briantseva, V. “Zh. F. Ramo i ego klavesinnoe tvorchestvo.” In J.-P. Rameau, Poh. sobr. soch dlia klavesina. Moscow, 1972.
Girdlestone, C. Jean Philippe Rameau: His Life and Work. London, 1957.

V. N. BRIANTSEVA

References in periodicals archive ?
Bach (Versuch u'ber die wahre Art das Clavier zu spielen, 1753/1762), Francois Couperin (L'art de toucher le clavecin, 1716 and 1717), Johann Nicolaus Forkel (Uber Johann Sebastian Bachs Leben, Kunst, und Kunstwerke, 1802), Friedrich Wilhelm Marpurg (Die Kunst das Clavier zu spielen, 1750/1755), Johann Joachim Quantz (Versuch einer Anweisung die Flote traversiere zu spielen, 1752), and Jean-Philippe Rameau (Dissertation, 1732); she also includes material on well-known performers: Johann Sebastian Bach, Jacques Champion de Chambonnieres, Louis Couperin, and Johann Jacob Froberger.
It is associated with composers such as Johann Sebastian Bach, Antonio Vivaldi, Jean-Baptiste Lully, George Frideric Handel, Arcangelo Corelliy, Claudio Monteverdi, Jean-Philippe Rameau and Henry Purcell.
Let them try this collection of love-music from the operas and vocal works of the great Frenchman Jean-Philippe Rameau, a highly imaginative composer as well as a brilliant theorist.
Platee, the title character of this eighteenth-century comic opera by Jean-Philippe Rameau, is a grotesque water nymph (played and sung brilliantly by tenor Jean-Paul Fouchecourt), who's so vain she aspires to an affair with chief god Jupiter, no less.
Admirers of Jean-Philippe Rameau are fortunate that the late-twentieth-century revival of his music, a revival that owes much to William Christie and Les Arts Florissants, has given rise also to equally flourishing scholarly literatures on both Rameau the composer and Rameau the theorist.
Next year marks the 250th anniversary of the death of the great French Baroque composer, Jean-Philippe Rameau (1683-1764).
Jean-Philippe Rameau figures in this chapter, since his works nurtured parodies staged in the Theatre de la Foire and the Theatre Italien.
The vivid music of Jean-Philippe Rameau, encompassing both brilliance and tenderness, brings all Sampson's gifts into play in this enchanting sequence of 'love songs from the operas' as the pretty cover describes it.
Opera Atelier, primarily a company devoted to baroque music theater, presented an opera-ballet by Jean-Philippe Rameau, a dramatic dialogue ("scenelyrique") by Jean-Jacques Rousseau, both mid-eighteenth century, in juxtaposition to a Roland Petit choreography of 1946.
Contractor address : 404 avenue Jean-Philippe Rameau, BP 9004
However, though he implies a connection between the partimento tradition and the influential theories of Jean-Philippe Rameau (1683-1764), particularly as practiced by the Italian composer Fedele Fenaroli (1730-1818), that linkage is not fully explored.
Bach, Francois Couperin, Jean-Philippe Rameau and Alessandro Scarlatti; adaptations of works by such diverse composers as George Gershwin, Alberto Ginastera and Darius Milhaud; traditional Brazilian music and the compositions of Heitor Villa-Lobos.