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Jean-Philippe Rameau

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L Egiptienne
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L Egiptienne
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Released: Mar 6, 2008
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General Info

  • Genre: Classical

    Location Paris, FR

    Profile Views: 65882

    Last Login: 4/24/2011

    Member Since 1/3/2007

    Website http://jp.rameau.free.fr/index.htm

    Record Label J-P R

    Type of Label Major

  • Bio

    .................... ...... ...... ...... ...... ...... ...... ...... ...... Jean-Philippe Rameau (September 25, 1683 - September 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 was attacked by those who preferred Lully's style. ...... ...... ...... ...... LIFE and WORK ...... ...... ...... Rameau's father was the organist at the cathedral of Dijon, and had his son practicing harpsichord at the earliest age possible. However, Rameau began his studies in the field of law before deciding that the study and composition of music was his true passion. He spent much of his youth in Italy and Paris, and for a time followed his father's footsteps as organist at Clermont Cathedral. Rameau was perhaps most well known for his theories regarding tonality through basses fondamentales or root notes, the idea that chords remain equivalent under inversion, described in Trait.. de l'harmonie (1722) and Nouveau syst..me de musique th..orique (1726). In 1722 Rameau relocated to Paris where he published many harpsichord collections as well as his Trait.. de l'harmonie (which was completed before his move to Paris). It wasn't until he reached his 40s that Rameau achieved prominence in the field of composition, but by the death of Fran..ois Couperin in 1733 he was arguably the leading French composer of the time. From then on he devoted himself primarily to opera, starting with Hippolyte et Aricie (1733). He collaborated with Voltaire on a number of operas, in particular La Princesse de Navarre which earned him the King's title of "Compositeur de la Musique de la Chambre". At the end of his life Rameau also became a character in Denis Diderot's - then unpublished - dialogue Le neveu de Rameau (Rameau's Nephew). Even if he never composed a real symphony, he especially showed his skills in the operatic genre as an innovator of orchestral music and orchestration, influencing and anticipating the music of the Classical music era, Romantic music (Hector Berlioz), and even Stravinsky's neoclassicism in a short prelude in his last opera, Les Bor..ades (1763). Brahms uses the theme of one of Rameau's pieces, "The Birds", as a subject for one of his chamber works. ...... ...... ...... ...... .................... ...... ...... .................... ...... ...... ...... ...... His music was admired by two other great French composers; Hector Berlioz, who described Rameau's art as "one of the most sublime conceptions of dramatic music". The other was Claude Debussy, who was especially impressed by Rameau's opera Castor et Pollux (1737), which was revived in 1903: "Gluck's genius was deeply rooted in Rameau's works. (...) a detailed comparison allows us to affirm that Gluck could replace Rameau on the French stage only by assimilating the latter's beautiful works and making them his own." Camille Saint-Sa..ns, Vincent d'Indy, and Paul Dukas were three other important French musicians who gave practical championship to Rameau's music in their day. ...... ...... ...... ...... Instrumental works ...... ...... ...... ...... Pi..ces de clavecin. Trois livres. "Pieces for harpsichord", 3 books, published 1706, 1724, 1728. Pi..ces de clavecin en concerts Five albums of character pieces for harpsichord and harmony. (1741) La Dauphine for harpsichord. (1747) Several orchestral dance suites extracted from his operas. ...... ...... ...... ...... Cantatas ...... ...... ...... ...... Les amants trahis L..impatience Aquilon et Orithie Orph..e Th..tis (1727) Le berger fid..le (1728) ...... ...... ...... ...... Motets ...... ...... ...... ...... Deus noster refugium (before 1716) In convertendo (c.1718) Quam dilecta (1720) Laboravi ...... ...... Operas ...... ...... ...... ...... Trag..dies en musique ...... Hippolyte et Aricie (1733; revised 1742) Castor et Pollux (1737; revised 1754) Dardanus (1739; revised 1744 and 1760) Zoroastre (1749; revised 1756) Les Bor..ades (unperformed; in rehearsal 1763) ...... ...... ...... ...... Op..ra-ballets ...... ...... ...... ...... Les Indes galantes (1735; revised 1736) Les f..tes d'H..b.. or les Talens Lyriques (1739) Les f..tes de Polymnie (1745) Le temple de la gloire (1745; revised 1746) Les f..tes de l'Hymen et de l'Amour (1747) Les surprises de l'Amour (1748; revised 1757) ...... ...... ...... ...... Pastorales h..ro..ques ...... ...... ...... ...... Za..s (1748) Na..s (1749) Acante et C..phise (1751) Daphnis et Egl.. (1753) ...... ...... ...... ...... Com..dies lyriques ...... ...... ...... ...... Plat..e (1745) Les Paladins (1760) ...... ...... Com..die-ballet ...... ...... ...... ...... La Princesse de Navarre (1744) ...... ...... Actes de ballet ...... ...... ...... ...... Les F..tes de Ramire (1745) Pigmalion (1748) La Guirlande (1751) Les sibarites (1753) La naissance d'Osiris (1754) Anacr..on (1754) Anacr..on (completely different work from the above, 1757) N..l..e et Myrthis (date unknown) Z..phire (date unknown) Io (unfinished, date unknown) ...... ...... ...... ...... ...... Lost works ...... ...... ...... ...... Samson (trag..die en musique) Linus (trag..die en musique) Lysis et D..lie (pastorale) ...... ...... ...... ...... ...... Writings ...... ...... ...... ...... Trait.. de l..harmonie r..duite .. ses principes naturels (Paris 1722) D..monstration du principe de l'harmonie (Paris 1750) ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... ...... .................... ...... ...... ...... ...... ...... ..Platée - Acte 3 Entr'acte...... .. .. .. .. ......More RAMEAU Videos.. ...... ...... ...... ...... ...... ...... ...... ...... ...... .. .. .. ......................

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Comments

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  • Arcangelo Corelli

    Je vous remercie de votre amitié, et votre musique, M. Rameau
    - Arcangelo Corelli -

    2 years ago
  • Khris Baya

    bonsoir jean, vous êtes un grand homme
    merci pour votre amitié et belle musique
    beaucoup de succès
    amicalement

    2 years ago
  • Inka

    Hi
    I thank for your beautiful music.
    I wish a wonderful weekend

    2 years ago
  • Khris Baya

    joyeuses Pâques
    merci rameau de nous faire partager ta belle musique
    toutes mes amitiés

    2 years ago
  • Anne, Princess Royal an…

    Thank you for the add, Maestro!
    I've played your wonderful pieces for harpsichord.

    Anne

    2 years ago
  • Peter George Coukis (co…

    Thanks Rameau

    2 years ago
  • Philippe DERVIEUX

    Très belle page.
    Merci de rendre hommage au génie de J.P. Rameau.
    Bonne année 2010.
    Philippe D.

    2 years ago
  • Danièle Valbrun

    Bienvenue et amitiés

    2 years ago
  • Jamie O'Callaghan

    Thank you for acceptng my friend request.

    Best wishes, Jamie.

    2 years ago
  • Daniel Potvin

    Merci !

    2 years ago
10 of 384More

Bio:









Jean-Philippe Rameau (September 25, 1683 - September 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 was attacked by those who preferred Lully's style.




LIFE and WORK



Rameau's father was the organist at the cathedral of Dijon, and had his son practicing harpsichord at the earliest age possible. However, Rameau began his studies in the field of law before deciding that the study and composition of music was his true passion. He spent much of his youth in Italy and Paris, and for a time followed his father's footsteps as organist at Clermont Cathedral. Rameau was perhaps most well known for his theories regarding tonality through basses fondamentales or root notes, the idea that chords remain equivalent under inversion, described in Trait.. de l'harmonie (1722) and Nouveau syst..me de musique th..orique (1726). In 1722 Rameau relocated to Paris where he published many harpsichord collections as well as his Trait.. de l'harmonie (which was completed before his move to Paris). It wasn't until he reached his 40s that Rameau achieved prominence in the field of composition, but by the death of Fran..ois Couperin in 1733 he was arguably the leading French composer of the time. From then on he devoted himself primarily to opera, starting with Hippolyte et Aricie (1733). He collaborated with Voltaire on a number of operas, in particular La Princesse de Navarre which earned him the King's title of "Compositeur de la Musique de la Chambre". At the end of his life Rameau also became a character in Denis Diderot's - then unpublished - dialogue Le neveu de Rameau (Rameau's Nephew). Even if he never composed a real symphony, he especially showed his skills in the operatic genre as an innovator of orchestral music and orchestration, influencing and anticipating the music of the Classical music era, Romantic music (Hector Berlioz), and even Stravinsky's neoclassicism in a short prelude in his last opera, Les Bor..ades (1763). Brahms uses the theme of one of Rameau's pieces, "The Birds", as a subject for one of his chamber works.










His music was admired by two other great French composers; Hector Berlioz, who described Rameau's art as "one of the most sublime conceptions of dramatic music". The other was Claude Debussy, who was especially impressed by Rameau's opera Castor et Pollux (1737), which was revived in 1903: "Gluck's genius was deeply rooted in Rameau's works. (...) a detailed comparison allows us to affirm that Gluck could replace Rameau on the French stage only by assimilating the latter's beautiful works and making them his own." Camille Saint-Sa..ns, Vincent d'Indy, and Paul Dukas were three other important French musicians who gave practical championship to Rameau's music in their day.




Instrumental works




Pi..ces de clavecin. Trois livres. "Pieces for harpsichord", 3 books, published 1706, 1724, 1728. Pi..ces de clavecin en concerts Five albums of character pieces for harpsichord and harmony. (1741) La Dauphine for harpsichord. (1747) Several orchestral dance suites extracted from his operas.




Cantatas




Les amants trahis L..impatience Aquilon et Orithie Orph..e Th..tis (1727) Le berger fid..le (1728)




Motets




Deus noster refugium (before 1716) In convertendo (c.1718) Quam dilecta (1720) Laboravi


Operas




Trag..dies en musique

Hippolyte et Aricie (1733; revised 1742) Castor et Pollux (1737; revised 1754) Dardanus (1739; revised 1744 and 1760) Zoroastre (1749; revised 1756) Les Bor..ades (unperformed; in rehearsal 1763)




Op..ra-ballets




Les Indes galantes (1735; revised 1736) Les f..tes d'H..b.. or les Talens Lyriques (1739) Les f..tes de Polymnie (1745) Le temple de la gloire (1745; revised 1746) Les f..tes de l'Hymen et de l'Amour (1747) Les surprises de l'Amour (1748; revised 1757)




Pastorales h..ro..ques




Za..s (1748) Na..s (1749) Acante et C..phise (1751) Daphnis et Egl.. (1753)




Com..dies lyriques




Plat..e (1745) Les Paladins (1760)


Com..die-ballet




La Princesse de Navarre (1744)


Actes de ballet




Les F..tes de Ramire (1745) Pigmalion (1748) La Guirlande (1751) Les sibarites (1753) La naissance d'Osiris (1754) Anacr..on (1754) Anacr..on (completely different work from the above, 1757) N..l..e et Myrthis (date unknown) Z..phire (date unknown) Io (unfinished, date unknown)





Lost works




Samson (trag..die en musique) Linus (trag..die en musique) Lysis et D..lie (pastorale)





Writings




Trait.. de l..harmonie r..duite .. ses principes naturels (Paris 1722) D..monstration du principe de l'harmonie (Paris 1750)



















Member Since:

January 03, 2007

Record Label:

J-P R

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