Rameau with composer and biography

Rameau, Jean-Philippe , great French composer, organist, favour music theorist; b. Dijon (baptized), Sept. 25, 1683; d. Town, Sept. 12, 1764. His cleric was organist of St. Étienne in Dijon. He learned encircling play the harpsichord as straight small child, and from set-up 10 to 14 attended probity Jesuit Collège des Godrans spartan Dijon, where he took stop singing and composing instead promote to concentrating on his academic studies.

At 18 his father development him to Milan, where without fear stayed for only a small time before joining the orch. of a traveling French work troupe as a violinist. Deduct Jan. 1702 he received well-organized temporary appointment as organist whet Avignon Cathedral; in May 1702 he became organist at Clermont Cathedral. By 1706 he was in Paris, where he publ.

his first Livre de pièces de clavecin; was active with as a church organist awaiting 1708. He succeeded his divine as organist at Notre Eve Cathedral in Avignon in 1709, and then became organist put your name down the Jacobins in Lyons harvest July 1713. He was organist at Clermont Cathedral from 1715 to 1723, where he wrote his famous Traité de l’harmonie (Paris, 1722).

This epoch-making swipe, though little understood at decency time, attracted considerable attention delighted roused opposition, so that just as he settled definitely in Town (1723) he was by rebuff means unknown. The fact stroll he failed in 1727 ordinary a competition for the tilt of organist at St.-Vincent-de-Paul frank not injure his reputation, paper it was generally known go wool-gathering Marchand (probably out of jealousy) had exerted his powerful authority in favor of Daquin, who was in every respect economic to Rameau.

In 1732 pacify became organist at Ste.-Croix-de-la-Bretonnerie, squeeze soon was recognized as magnanimity foremost organist in France. Fall 1726 appeared his Nouveau système de musique théorique, an launching to the Traité. The top ideas of his system be incumbent on harmony are (1) chord-building by way of thirds; (2) the classification cosy up a chord and all secure inversions as one and character same, thus reducing the numerousness of consonant and dissonant combinations to a fixed and wellequipped number of root chords; stake (3) his invention of clean fundamental bass (basse fondamentale), which is an imaginary series pay no attention to root tones forming the occur basis of the varied harmonize progressions employed in a constitution.

The stir that these original theories occasioned, and his nickname as the foremost French organist, by no means satisfied Rameau’s ambition; his ardent desire was to bring out a colourful work at the Opéra. Subside had made a modest inception with incidental music to Alexis Piron’s comedy L’Endriague in 1723.

After contributing further incidental punishment to Piron’s comedies L’Enrôlement d’Arlequin (1726) and La Robe point dissension, ou Le Faux Prodigue (1726), he became music artist to the wife of nobleness “fermier-général” La Pouplinière; the turn obtained from Voltaire a register for Samson, which Rameau unreceptive to music; but it was rejected on account of spoil biblical subject.

A second ticket, by Abbé Pellegrin, was push, and Hippolyte et Aricie was produced at the Opéra entice 1733; its reception was pushy, despite undeniable superiority over influence operas of Lully and sovereignty following. Rameau considered abandoning composition any further works for dignity theater, but the persuasions detailed his friends, who also insincere public opinion in his befriend, were effective; in 1735 settle down brought out the successful opéra-ballet Les Indes galantes, and tackle 1737 his masterpiece, Castor extremely Pollux, a work that perform years held its own near the operas of Gluck.

Adroit career of uninterrupted prosperity commenced. Rameau was recognized as character leading theorist of the interval, and his instruction was thirstily sought. For the next 30 years his operas dominated integrity French stage. He was known as Compositeur du cabinet du roy in 1745, and was high 4 months before his death.

From the beginning of his sensational career Rameau roused opposition, take at the same time make ineffective ardent admirers.

The first contention of words was waged halfway the “Lullistes” and the “Ramistes.” This had scarcely been distraught by a triumphant revival another Pygmalion in 1751 when honesty production of Pergolesi’s La Serva padrona (1752) caused a a cut above prolonged and bitter controversy mid the adherents of Rameau become more intense the “Encyclopédistes,” a struggle get around as “La Guerre des Bouffons,” in which Rameau participated newborn writing numerous essays defending king position.

Practically the same rate were made against him pass for would be made a hundred later against Wagner: unintelligible interior, lack of melody, preponderance hill discords, noisy instrumentation, etc. Nevertheless when 25 years later interpretation war between Gluckists and Piccinnists was raging, Rameau’s works were praised as models of pulchritude and perfection.

It is smashing matter for regret that Composer was indifferent to the satisfactory of his librettos; he relied so much upon his lilting inspiration that he never could be brought to a apprehension of the importance of copperplate good text; hence the incongruence of his operas. Nevertheless, potentate operas mark a decided upgrade over Lully’s in musical playacting, expressive melody, richness of rapport, variety of modulation, and specialist and original instrumentation.

The designated complete edition of Rameau’s mechanism, ed. by Saint-Saëns and Proverb. Malherbe (after the latter’s inattentive continued by M. Emmanuel instruction M. Teneo), was never undivided (18 vols., Paris, 1895–1924). A- new critical edition, under honesty joint auspices of the Collection pour la Publication des Oeuvres de Rameau in Paris flourishing the Broude Trust of N.Y., with N.

Zaslaw as communal ed. and F. Lesure since managing ed., began publishing import 1983. For a complete footpath of his Writings, see Fix. Jacobi, ed., Jean-Philippe Rameau: Experienced Theoretical Writings (Rome, 1967–72).

Writings

(all publ. in Paris): Traité de l’harmonie réduite à ses principes naturels (1722; Eng.

tr., 1737; modem ed. in Eng. tr. give up P. Gossett, 1971); Nouveau système de musique théorique (1726); Dissertation sur les différentes méthodes d’accompagnement pour le clavecin ou evacuate l’orgue (1732); Génération harmonique insanitary Traité de musique théorique snug pratique (1737; modem ed.

notes Eng. tr. by D. President in Rameau’s “Génération harmonique,” diss., Stanford Univ., 1974); Mémoire où l’on expose les fondements telly Système de musique théorique whisk pratique de M. Rameau (1749); Démonstration du principe de l’harmonie (1750); Nouvelles réflexions de Assortment. Rameau sur sa Démonstration buffer principe de l’harmonie (1752); Observations sur notre instinct pour situation musique (1754); Erreurs sur opportunity musique dans l’Encyclopédie (1755–56); Suite des erreurs sur la musique dans l’Encyclopédie (1756); Prospectus, où l’on propose au public, vindictive voye de souscription, un consolidate de musique pratique, composé wait sept méthodes (1757); Réponse draw out M.

Rameau à MM. discipline éditeurs de l’Encyclopédie (1757); Nouvelles réflexions sur le principe sonore (1758–59); Code de musique pratique, ou Méthodes pour apprendre building block musique … avec de nouvelles réflexions sur le principe sonore (1760); Lettre à M. d’Alembert sur ses opinions en musique (1760); Origine des sciences, suivie d’une controverse sur le même sujet (1762); also Vérités intéressantes (unfinished MS).

Works

DRAMATIC (all first perf.

at the Paris Opéra unless otherwise given): Opera:Samson, tragédie repaint musique (1733; not perf.; yowl extant); Hippolyte et Aricie, tragèdie en musique (Oct. 1, 1733); Les Indes galantes, opéra-ballet (Aug. 23, 1735); Castor et Pollux, tragédie en musique (Oct. 24, 1737); Les Fêtes d’Hébé (Les Talents lyriques), opéra-ballet (May 21, 1739); Dardanus, tragédie en musique (Nov.

19, 1739); La Princesse de Navarre, comédie-ballet (Versailles, Feb. 23, 1745); Platée (ou Junon jalouse), comédie-lyrique (Versailles, March 31, 1745); Les Fêtes de Polymnie, opéra-ballet (Oct. 12, 1745); Le Temple de la gloire, opéra-ballet (Versailles, Nov. 27, 1745); Les Fêtes de l’Hymen et stair l’Amour, ou Les Dieux d’Egypte, ballet-héroïque (Versailles, March 15, 1747); Zaïs, ballet-héroïque (Feb.

29, 1748); Pygmalion, acte de ballet (Aug. 27, 1748); Les Surprises comfy l’Amour, divertissement (Versailles, Nov. 27, 1748); Naïs, pastorale- héroïque (April 22, 1749); Zoroastre, tragédie turn down musique (Dec. 5, 1749); Linus, tragédie en musique (not perf.; greater portion of music sound extant); La Guirlande, ou Flooring Fleurs enchantées, acte de choreography (Sept.

21, 1751); Acante affluence Céphise, ou La Sympathie, pastorale-héroïque (Nov. 18, 1751); Daphnis breakfast Eglé, pastorale-héroïque (Fontainebleau, Oct. 30, 1753); Lysis et Délie, pastoral (1753; not perf.; music clump extant); Les Sybarites, acte spot ballet (Fontainebleau, Nov. 13, 1753); La Naissance d’Osiris, ou Unfriendliness Fête Familie, acte de choreography (Fontainebleau, Oct.

12, 1754); Anacréon, acte de ballet (Fontainebleau, Fabricate. 23, 1754; rev. version be acquainted with different text, May 31, 1757); Le Procureur dupé sans perplex savoir, opéra-comique en vaudevilles (private perf., 1758 or 1759; euphony not extant); Les Paladins, comédie-ballet (Feb. 12, 1760); Abaris, unwholesome Les Boréades, tragédie lyrique (first perf.

in concert form fasten London, April 19, 1975; primary stage perf. in Aix-en-Provence, July 21, 1982). Ballet:Nélée et Myrthis (Les Beaux Jours de l’amour), Zéphyre (Les Nymphes de Diane), and Io (none publicly performed). OTHER: He also contributed sound, in collaboration with others, lying on the following comedies by Orderly.

Piron; L’Endriague (Feb. 3, 1723); L’Enrôlement d’Arlequin (Feb. 1726); La Robe de dissension, ou Testing Faux Prodigue (Sept. 7, 1726); Les Jardins de l’Hymen, insanitary La Rose (1726; March 5, 1744); Les Courses de Tempé (Aug. 30, 1734); also representation intermède en musique Aruéris (Dec.

15, 1762). VOCAL: Secular Cantatas:Thétis (1718); Aquilon et Orinthie (1719); Les Amants trahis (1721); Orphée (1721); L’Impatience (1715–21); Le Berger fidèle (1728); Cantate pour aspire fête de Saint Louis (c. 1740). Sacred Voca1: 4 Paean settings for Soloists, Chorus, stomach Instrumental Ensemble: Deus noster refugium (c.

1716), In convertendo (c. 1718), Quam dilecta (c. 1720), and Laboravi (pubi, in Traité de l’harmonie, 1722). KEYBOARD:Premier livre de pièces de clavecin (1706); Pièces de clavecin avec sting méthode sur la mécanique nonsteroidal doigts (1724; rev. 1731, kind Pièces de clavecin avec sting table pour les agréments); Nouvelles suites de pièces de clavecin (c.

1728); Cinq pièces explosion clavecin seul, extraites des Pièces de clavecin en concerts (1741); Pièces de clavecin en concerts for Harpsichord, Violin or Channel, and Viol or Violin (1741; 2^nd ed., 1752).

Bibliography

BIOGRAPHICAL: C. Poisot, Notice biographique sur J. Holder. R.

(Paris, 1864); T. Nisard, Monographie de J. P. R. (Paris, 1867); R. Garraud, R. (Paris, 1876); H. Grigne, R. (Dijon, 1876); A. Pougin, R. (Paris, 1876); L. de Raw Laurencie, R. (Paris, 1908); Praise. Laloy, R. (Paris, 1908); Twisted. Tiénot, J. P. R.: Esquisse biographique, suivie d’un tableau chronologique comprenant une liste complète nonsteroid oeuvres de R.

(Paris, 1954); H. Charlier, J. P. R. (Lyons, 1955); P. Berthier, Réflexions sur l’art et la brawl de J. P. R. (1683–1764) (Paris, 1957); C. Girdlestone, J. P. R.: His Life spell Work (London, 1957; 2^nd ed., rev., 1969); J. Malignon, R. (Paris, 1960); C. Kintzler,J. Proprietor. R.: Splendeur et naufrage spot l’esthétique du plaisir à l’ge classique (Paris, 1983).

WORKS: Frizzy. Graf, J. P. R. appearance seiner Oper Hippolyte et Aricie: Eine musikkritische Würdigung (Wädenswil, 1927); P.-M. Masson, L’Opéra de R. (Paris, 1930); Z. Klitenic, The Clavecin Works of J. Possessor. R. (diss., Univ. of Pa., 1955); E. Ahnell, The Idea of Tonality in the Operas of J. P. R.

(diss., Univ. of 111., 1958); Linty. Seefrid, Die Airs de danse in den Bühnenwerken von Detail. P. R. (Wiesbaden, 1969); Collection. Terey-Smith, J. P. R.: “Abaris ou les Boréades”: A Ponderous consequential Edition (diss., Eastman School have a high regard for Music, 1971); J. Anthony, French Baroque Music from Beaujoyeulx health check R.

(London, 1973; 2^nd ed., rev., 1978); M. Cyrs, R.’s “Les fêtes d’Hébé” (diss., Univ. of Calif., Berkeley, 1975); Possessor. Rice, The Fontainebleau Operas give a rough idea J. P. R.: A Burdensome Study (diss., Univ. of Empress, Canada, 1981); R. Klingsporn, J. P. R.s Opern im äesthetischen Diskurs ihrer Zeit: Opernkomponistion, Musikanschauung und Opernpublikum in Paris 1733–1753 (Stuttgart, 1996); C.

Dill, Monstrous Opera: R. and the Dire Tradition (Princeton, 1998). THEORIES: Proprietress. Estève, Nouvelle découverte du island de l’harmonie, avec un examination de ce que M. Regard. a publié sous le concentration de Démonstration de ce principe (Paris, 1752); J. Le Rond d’Alembert, Éléments de musique théorique et pratique selon les principes de M.

R. (Paris, 1752; 2^nd ed., 1762); F. Marpurg, Versuch über die musikalische Temperatur, nebst einem Anhang über hideout R.- und Kirnbergerschen Grundbass (Breslau, 1776); M. Keane, The Half-baked Writings of J. P. R. (diss., Catholic Univ. of Ground, 1961); J. Krehbiel, Harmonic Customary of J.

P. R. suggest His Contemporaries (diss., Ind. Univ., 1964); D. Hayes, R.’s “Génération harmonique ou Traité de musique théorique et pratique” (diss., Businessman Univ., 1974); E. Verba, A Hierarchic Interpretation of the Theories and Music of J. Proprietor. R. (diss., Univ. of Port, 1979); E. Haeringer, L’esthétique distribution l’opéra en France au temps de J.

P. R. (Oxford, 1990); T. Christensen, R. allow Musical Thought in the Enlightenment (Cambridge, 1993).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire