Rameau


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Rameau

Jean Philippe . 1683--1764, French composer. His works include the opera Castor et Pollux (1737), chamber music, harpsichord pieces, church music, and cantatas. His Trait? de l'harmonie (1722) was of fundamental importance in the development of modern harmony
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This is certainly a question that editors of the new Rameau edition and other complete works editions need to come to terms with.
The existence of the harpsichord part in a manuscript collection of solo harpsichord music and arrangements of harpsichord pieces by Rameau to form a sixth concert should not confuse the issue - Rameau never suggested his harpsichord pieces should be concerted - although it is a valuable, if provincial and slightly late, source of performance practice.
Straightforward, relatively brief editing guidelines and interpretative information contribute to centering the edition on the voice of Rameau, not on that of the editor.
Yet not all have been so fastidious: of the last eight Rameau recordings I have reviewed in Early music, four have been based on the Oeuvres complates, three derived from the most unreliable Volumes.
These comprise vocal and instrumental excerpts from Marc-Antoine Charpentier's Medee (Brunswick AXTL 1049) and various stage-works of Rameau (Brunswick AXTL 1053).
There is no indication that Rameau, for example, participated in performances, but there is some evidence that he intervened in rehearsals - annotations about keeping the bassoons in line indicating that he had a very precise idea of the kind of sound he wanted and how it was supposed to be made.
Thus, in a French Baroque program called Zephyr, Vent de l'Amour, Toronto's resident Isadora-based company, dance OREMUS danse, under the co-artistic directorship of Paul James Dwyer and Jeanne Bresciani, featured the scintillating music of Rameau and Gluck performed by four dancers, two singers and the 16-piece Ensemble Les Muses reunies.
Contract notice: AO 1988 - Rehabilitation of 130 dwellings in occupied site at 2 to 6 rue Lecocq, 1 to 3 and 5 to 9 rue Offenbach and 1 to 3 and 5 to 9 rue Rameau in the town of Villeneuve-d'Ascq
Samedi, en fin d'apres midi, Ankara a annonce le lancement de l'operation Rameau d'olivier.
He begins by reviewing cynicism in antiquity, then offers close readings of elegant expedience in Machiavelli's Il Principe (~1513), acute concinnity in Graci[sz]n's Or[sz]culo manuel y arte de prudencia (1647), a "Diogenes redivivus" in Diderot's Le Neveu de Rameau (~1774/1805/1891), and beyond morality or cynicism in Nietzsche's Nachgelassene Fragmente (1884-89).
The music spans three centuries, from the Baroque of Rameau to the Haydn work - "La Reine" referred to Marie Antoinette, the queen of Louis XIV; the royal couple died nine months apart in 1793, executed by guillotine during the French Revolution - and on to the 19th century French salon music from such composers as Chopin, Franz Liszt and Robert Schumann.
Arrangements of early music, Monteverdi and Rameau, coupled with Paul McCartney's ballad Michelle, works as a set of wistful songs, similarly evocative, from three eras.