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
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.