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Jean-Philippe Rameau 讓-菲利普·拉摩

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18th Century French Keyboard Music & Ornamentation 生平 • 1683年-1764年 • 生涯分早期(1683-1732)與後期(1733-1764) • 法國人 生平-早期(1) • 早期為1683年-1732年。 • 生於法國第戎(Dijon)。 • 父親在教堂擔任管風琴手；母親(Claudine Demartinécourt)來 自貴族家庭。 • 家中共有11個小孩，5個女生和6個男生，拉摩排名第7。 • 拉摩幼年時被送往戈德朗斯(Godrans)的耶穌會學院學習法律， 但他真正喜愛的是音樂和作曲，在決定未來要成為一位音樂 家後，他父親便讓他前往義大利米蘭學習音樂。 生平-早期(2) • 1706年，在米蘭的拉摩出版了他知名的作品《大鍵琴曲集》 (Pièces de clavecin)第一部。 • 1709年，他回到第戎並接手他父親在巴黎聖母院管風琴手 的職位，還創作了不少供教堂表演的經文歌和世俗清唱劇。 • 1722年，他前往巴黎，出版了他此 生最重要的理論作品《和聲學》 (Traité de l‘harmonie)，因而聲名大噪。 生平-早期(3) • 1726年，拉摩又發表了另外一本理論作品《音樂理論的新 體系》(Nouveau système de musique théorique)。 • 1726年二月，他娶了19歲的 瑪麗-路易絲·芒戈(Marie- Louise Mangot)為妻，她是一 位出色的歌手及器樂家，他 們共生了4個小孩，2男2女。 生平-後期(1) • 後期為1733年-1764年。 • 直到拉摩50歲，才開始了他的歌劇創作生涯。 • 1732年，受到Montéclair的歌劇作品“Jephté”影響，他開始 著手他的法國歌劇創作─抒情悲劇(tragédie en musique)。 • 1733年，他的第一部歌劇《希波呂托斯與阿里奇埃》 (Hippolyte et Aricie)於10月1日公演而造成轟動，被眾人認 為是繼盧利之後，最偉大的歌劇作品。 生平-後期(2) • 《希波呂托斯與阿里奇埃》問世後，觀眾反應兩極，有 一派認為這部作品不僅有拉摩自己的原創性，還做了許 多創新；另一派則指出這部作品在和聲上的創新是不和 諧的，認為拉摩牴觸了法國的傳統音樂。 • 此後，兩派便發展成所謂的「盧利派」(Lullyistes)，以及 「拉摩派」(Rameauneurs)，也因為這個事件爭吵了至少 十年之久。 生平-後期(3) • 這段時期，他還認識了一個很有勢力的財主Alexandre Le Riche de La Pouplinière(後來在1753年時成為拉摩的贊助者)。 • 1731年，拉摩擔任La Pouplinière的私人樂團指揮，長達22 年之久，也藉此認識了很多當時文化的領導人物。 • 後來拉摩也將他新式的音樂風格移植到歌劇芭蕾(opéra- ballet)去創作，像是作品《殷勤的印第安人》(Les Indes galantes)獲得很高的評價。 生平-後期(4) • 1737年與1739年，創作抒情悲劇《雙子星卡斯托耳與波呂 丟刻斯》(Castor et Pollux)以及《達耳達諾斯》(Dardanus) 。 • 同年，還創作另一部歌劇芭蕾─《赫伯的節日或抒情天才》 (Les fêtes d‘Hébé)。這些都被視為拉摩最出色的歌劇作品。 • 1741年，他創作了此生唯一的室內樂作品《大鍵琴合奏曲 集》(Les pièces de clavecin en concert)。 生平-後期(5) • 1745年他被任命為王家室內樂作曲家（Compositeur de la Musique de la Chambre）。拉摩於1764年被封為貴族，同 年在巴黎去世，享年80歲，葬於他所在教區的聖·厄斯塔 什教堂。 獲得的讚賞與批評(1) 他的兩部著作《和聲的形成》（Generation harmonique）和《和聲原則的論證》 （Demonstration du principe de l’harmonie）被呈送 到藝術學科協會，並受到了極高的評價。 德·阿朗貝爾（D’Alembert）以比原作更為通俗的 方式，在《音樂理論與實踐的要素——依據拉摩 先生的原則而作》（Elements de musique theorique et partique selon les principes de M. Rameau，1752） 一書中對這兩部著作進行了概括性的論述。 獲得的讚賞與批評(2) 重視專家的意見 倫敦的漢斯·斯隆（Hans Sloane），年輕一些的有 居住在巴塞爾的伯努利（Jean Bernoulli）、柏林的 奧伊勒（Euler）、波倫亞的帕德雷·馬蒂尼 （Padre Martini） 和卡斯特爾教父（Father Castel）進行過激 烈的爭論 得罪盧梭（Rousseau） Rameau的作品(1) 經文歌 : • Deus Noster Refugium (1720) • Quam dilecta (1713~1722) • In Convertendo (1713~1715) • Laboravi clamans (1722) 清唱劇： • Les amants trahis • L'impatience • Aquilon et Orithie • Orphée • Thétis • Le Berger Fidèle Rameau的作品(2) 法國歌劇： • 希波呂托斯與阿里西埃（Hippolyte et Aricie，1733） • 卡斯托爾與波呂克斯（Castor et Pollux，1737） • 達耳達諾斯（Dardanus，1739） • 拜火教主瑣羅亞斯德（Zoroastre，1749） • 北方人（Les Boréades，1763） 抒情喜劇： • 納瓦爾公主（La Princesse de Navarre，1745） • 普拉蒂埃（Platée，1745） • 帕拉丁（Les Paladins，1760） Rameau的作品(3) 歌劇芭蕾： • 殷勤的印地人（Les Indes galantes，1736 年） • 赫伯的節日（Les Fêtes d'Hébé） • 波林妮的節日（Les Fêtes de Polymnie） • 榮耀的殿堂（Le Temple de la Gloire） • 婚神和愛神的節日（Les fêtes de l'Hymen et de l'Amour） • 愛之驚喜（Les surprises de l'Amour） • 達弗涅與埃萊（Daphnis et Egle） Rameau的作品(4) 英雄田園詩 ： • 扎伊（Zaïs ， 1748） • 納伊（Naïs） 芭蕾舞劇： • 皮格馬裡翁（Pygmalion，1748） • 奧西裡斯的誕生（La naissance d'Osiris） • 花環（La Guirlande） • 阿奈克里翁（Anacréon） • 西巴裡斯人（Les Sybarites） • 和風（Zéphyre） Rameau的作品(5) 音樂理論著作 ： • 《和聲學》（Traite de l‘harmonie，1722） • 《音樂理論的新體系》（Noveau systeme de musique theorique，1726) • 《和聲的形成》（Generation harmonique，1737） • 《和聲原則的論證》（Demonstration du principe de l'harmonie，1750） 羽管鍵琴作品 • 三部羽管鍵琴曲集（1706年、1724年、1728年） • 羽管鍵琴合奏曲集（Les pièces de clavecin en concert， 1741） • 「王儲夫人」（La Dauphine，1747年） • –以及若干歌劇選段的羽管鍵琴改編曲 The Keyboard Music of Jean-Philippe Rameau: is this viable on the piano? Associate Professor Graham Fitch Head of Keyboard Studies, University of Cape Town Introduction It was not until I heard Angela Hewitt’s recent piano recordings of François Couperin that I began to challenge this long- held belief, and it is thanks to her pioneering spirit that I started to programme Rameau in recital this year. Audiences have warmed to it more than I could have anticipated, and it ended up being an extremely satisfying experience to play this music on the piano The Music The first volume, entitled Première livre de pièces de clavecin (1706) 大鍵琴的第一本書 1.Prélude 2.Allemande 3.Deuxième Allemande 4.Courante 5.Gigue 6.Premier Sarabande 7.Deuxième Sarabande 8.Vénitienne (Venetian) 9.Gavotte 10.Menuet The Music The second set, the Pièces de clavecin (1724) 1.Menuet en rondeau Les tendres plaintes 2.Les niais de Sologne (with 2 doubles) 3.Allemande Les soupirs 4.Courante La joyeuse 5.Gigues en rondeaux 1 and 2 La follette 6.Le rappel des oiseaux <鳥語> 7.L’entretien des Muses 8.Rigaudons 1 and 2 (with a double of 2) Les tourbillons 9.Musette en rondeau Les cyclopes 10.Tambourin Le lardon 11.La villageoise La boiteuse The Music The next collection of pieces is the Nouvelles suites de pièces de clavecin (1728) 《大鍵琴的新曲-不同風格的標記》 1. Allemande Les tricolets 2. Courante L’indifférente 3. Sarabande La poule <母雞> 4. Les trois mains Menuets 1 and 2 5. Fanfarinette Les triolets 6. La triomphante Les sauvages <野蠻人> 7. Gavotte and 6 doubles L’enharmonique 8. L’Égyptienne <埃及女人> 技術性較前兩冊強 舞曲與標題性樂曲並存 The Music Les pièces de clavecin en concert(1741) 大鍵琴合奏曲集 1. La livri 2. L’agaçante 3. La timide 4. L’indiscrète 5. La Dauphine (1747) Transcription Much of the French repertoire is so idiomatic for the harpsichord that it can easily sound clumsy or ineffectual when transferred to any other medium. Apart from the Gavotte and Variations and some of the smaller individual character pieces that crop up in the examination syllabus, Rameau’s music seems largely unexplored. 大鍵琴&鋼琴之音色差異 The obvious benefit of the piano is the ability to control volume of sound by touch, and thus clarify lines of counterpoint dynamically. Using touch and articulation to clarify textures that would otherwise sound muddy on the piano. Texture Also, taking into consideration Rameau’s often bass- heavy writing by playing ornaments more slowly in the lower registers and by sketching in inner voices. Not feeling bound only by terraced dynamics. (梯田式的力度變化) Localised inflections and shapings can also be used freely, Dynamics since these are suggested on the harpsichord by other means. To make full use of the resources of the piano, a wide dynamic range can be explored. Shallow pedals; “finger” pedalling; use of una corda (soft Pedal pedal) as a stop or register on a repeat, perhaps. Being aware of how a particular dance moves. Sometimes a slower tempo is necessary on the piano Tempo because of the greater resonance, and the number of ornaments. Applying slurs, staccatos, tenutos and other subtleties of The Urtext score touch and articulation in a score with very few indications from the composer. Ornamentation In purely pianistic terms, the best way to manage the ornaments is to keep them relatively light so they do not muddy the texture. The French Convention of Notes Inégales The practice of inequality (so-called notes inégales) applies to French music from the seventeenth and eighteenth centuries, and involves the rhythmic alteration of (sometimes slurred) pairs of notes that are notated equally. There are basically two sorts of inequality; long-short, or short-long (the latter sometimes referred to as lombardic), applicable under certain circumstances that would have been passed on by tradition during the period and thus understood by all trained musicians. A good rule of thumb is that the inequality should be subtler in slower expressive pieces, such as allemandes, but can be sharper in more rhythmical pieces, such as gavottes. For example, in the following extract from the allemande from the Suite in A minor (Nouvelles Suites de Pièces de Clavecin), the lower staves give one possible realisation of inequality, and this is notatable only very approximately. In the second example (the Gavotte from the Première Livre de Pièces de Clavecin), we find instances of the lombardic from of notes inégales indicated by paired slurs: Neumann disputes that the convention of inequality did ever spread to Germany, and concludes that it is not applicable to the music of Bach or other German composers, even in their works in the French style. Video：Le rappel des oiseaux Other videos (Playlists) 1. J.P.Rameau - Premier Livre de Pièces de Clavecin (1706) https://www.youtube.com/playlist?list=PLD04AAC56CF 4FF33D 2. J.P.Rameau - Pièces de Clavecin (1724) https://www.youtube.com/playlist?list=PL70080806F1C9 95E3 參考資料 1. 愛樂電台 https://www.e-classical.com.tw/headline_detail.cfm?id=707 2. Wikipedia https://en.wikipedia.org/wiki/Jean-Philippe_Rameau#Theoretical_works https://en.wikipedia.org/wiki/Pi%C3%A8ces_de_Clavecin 3. Cengage Learning http://www.cengage.com/music/book_content/049557273X_wrightSimms/assets/ITO W/7273X_00_Musical_Interlude_6_ITOW_Rameau.pdf 4. Academia https://www.academia.edu/810550/The_Keyboard_Music_of_Jean- Philippe_Rameau_Is_This_Viable .
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  • The French Connection Programme Notes

    The French Connection Programme Notes

    The French Connection PROGRAMME NOTES The two pieces that frame this week’s French programme both begin with extraordinary and evocative depictions of Chaos and its gradual dissolution as the primary elements separate and emerge. Amandine Beyer gave her programme a working title of “After the chaos”: she wrote, “the music begins to move together inside the wonderful rhythms of French baroque music, sometimes strong, sometimes joyful, sometimes tender. Always with a strong sense of its roots in the simple melodies of the folklore of France, and the love of the dance.” Rameau Zaïs Rameau’s Zaïs was premiered at the Paris Opera in 1748, the first of three operas by Rameau with masonic undertones (the others being Zoroastre and Les Boréades). The libretto by Louis de Cahusac is set in an enchanted, mythical world from the Middle East. Although the libretto itself met much criticism, the fantastical and pastoral characters and settings offered Rameau lots of scope, and the music was much praised, assuring many revivals and over 100 performances over two decades. Most extraordinary is the overture. Audiences would have expected the usual French overture, grand and elegant. They instead met a depiction of chaos, with muted drum and disjunct utterances from the orchestra, gradually coalescing into a shimmering ball of energy. We follow the overture with a small selection of pastoral dances which assure that “after the chaos” all is well. Corrette Concerto comique We continue with Rameau, but Rameau as re-imagined by Michel Corrette. The Rouen-born Corrette enjoyed a long career in Paris, writing music of a light nature, much of it arrangements of popular tunes of the day.
  • Orchestre Des Arts Florissants Jonathan Cohen, Chef Associé, Direction Anna Reinhold, Bas-Dessus

    Orchestre Des Arts Florissants Jonathan Cohen, Chef Associé, Direction Anna Reinhold, Bas-Dessus

    5e édition Orchestre des Arts Florissants Jonathan Cohen, chef associé, direction Anna Reinhold, bas-dessus Airs et danses de Rameau Jean-Philippe Rameau (1683-1764) --- Mercredi 25 juin 2014 - 20 h 30 Programme Hippolyte et Aricie Ouverture Entrée pour les Habitants des bois (Prologue) – instrumental Premier et deuxième Menuet (Prologue, c.1) – instrumental Air d’Aricie “Temple sacré” (Acte I, sc.1) Les Indes galantes Ouverture Air pour les Esclaves Africains (Le Turc généreux, sc.6) – instrumental Premier et deuxième Rigaudon (Le Turc généreux, sc.6) – instrumental Air d’Emilie “Fuyez, vents orageux” (Le Turc généreux, sc.6) Premier et deuxième Tambourin (Le Turc généreux, sc.6) – instrumental Castor et Pollux Ouverture Prélude du choeur “Que tout gémisse”(Acte I, sc.1) – instrumental Air tendre de Télaïre “Quelle faible victoire” (Acte I, sc.2) Air de Télaïre “Tristes apprêts” (Acte I, sc.3) - Entracte - Le Temple de la Gloire Air tendre pour les Muses (Prologue, sc.3) – instrumental Dardanus Chaconne (Acte V, scène dernière) – instrumental Les Fêtes d’Hébé Air de l’Amour “Vole, Zéphir” (Prologue) Air gracieux pour Zéphir et les Grâces (Prologue, sc.5) – instrumental Air tendre (La Musique, sc.5) – instrumental Premier et deuxième Rigaudon (La Musique, sc.5) – instrumental L’Hymen - Chaconne (La Musique, sc.5) – instrumental Naïs Musette tendre (Acte III, sc.6) – instrumental Air d’une bergère “Je ne sais quelle ardeur me presse” (Acte III, sc.6) Chaconne (Acte I, sc.7) – instrumental Distribution Jonathan Cohen, chef associé, direction
  • Haydn Rawstron Limited

    Haydn Rawstron Limited

    HAYDN RAWSTRON LIMITED Berg - Wozzeck - Madman Berg - Lulu - The Prince Berg - Wozzeck - Captain Berg - Wozzeck - Andres Britten - A Midsummer Night's Dream - Flute Alexander Kravets Tenor Britten - Peter Grimes - Rev. Horace Adams Britten - Peter Grimes - Bob Boles Opera Repertoire Campra - Idomenee - Idamante Page 1/4 Chabrier - Une education manquee - Gontran Charpentier - Medee - Jason Charpentier - Orphee - Orphee Charpentier - David et Jonathas - David Charpentier - Acteon - Acteon Donizetti - La fille du regiment - Tonio Donizetti - Lucia di Lammermoor - Normanno Gluck - Orfeo ed Euridice - Orfeo Gluck - Alceste - Admeto Humperdinck - Hänsel und Gretel - The Gingerbread Witch Janacek - From the House of the Dead - Sapkin Janacek - The Makropolus Case - Hauk-Sendorf Janacek - The Makropolus Case - Vitek Janacek - The Cunning Little Vixen - Schoolmaster Janacek - The Excursions of Mr. Broucek - Matej Broucek September 2015 55 LANGLEY WAY, WEST WICKHAM, KENT BR4 0DH, ENGLAND Telephone: + 44(0)20 8777 9214 Mobile: +44 (0)7889 469941 Email: [email protected] Website: www.haydnrawstron.com Alexander Kravets Janacek - Katia Kabanova - Vana Kudrjash Tenor Opera Repertoire Janacek - Jenufa - Laca Klemen Page 2/4 Leoncavallo - Pagliacci - Beppe Lortzing - Zar und Zimmermann - Marquis de Chateauneuf Lully - Armide - Renaud Lully - Phaeton - Phaeton Lully - Acis et Galathee - Acis Lully - Alceste - Admete Monteverdi - Il ritorno d'Ulisse in patria - Telemaco Monteverdi - L'incoronazione di Poppea - Arnalta Monteverdi - L'Orfeo -
  • Jean-Philippe Rameau Et La Musette Ou Le Loup Dans La Bergerie

    Jean-Philippe Rameau Et La Musette Ou Le Loup Dans La Bergerie

    Jean-Philippe Rameau et la musette– Jean-Christophe MAILLARD- www.rameau2014.fr Jean-Philippe Rameau et la musette ou le loup dans la bergerie Jean-Christophe MAILLARD * La musette est une petite cornemuse à soufflet, utilisée en France du dernier tiers du XVIe siècle jusqu’à sa disparition progressive dans les années 1780 1. On l’a vue dans les fêtes galantes de Watteau, Boucher et Lancret, ou dans les natures mortes de Chardin, Vallayer-Coster, Delaporte et Oudry 2. On a entendu les parodies qu’en ont fait les clavecinistes, jolies mélodies lancinantes accompagnées d’une basse en ostinato. Les collectionneurs se sont réjouis d’en posséder, les musées ont cherché à mettre en valeur sa beauté purement décorative, la délicatesse de sa facture et la richesse de ses matériaux. On l’a longtemps assimilée à un gracieux jouet musical, aux ressources très pauvres. « Entièrement dénuée d’expression et trop vouée à l’exécution de morceaux d’un art rudimentaire », selon Constant Pierre qui n’en avait pourtant jamais entendue 3, la musette est longtemps resté une belle inconnue, instrument momifié et obsolète. En partant de ce principe, on est en droit de se demander les raisons qui ont pu pousser Rameau à employer un tel instrument dans douze de ses productions lyriques : un savant théoricien, épris de science et de nouveauté, méchamment critiqué par ses contemporains pour la prétendue complexité de ses œuvres, serait venu se compromettre dans l’univers lénifiant et ignare des petits bergers et des moutons toilettés. Un diable de savoir et de raffinement dans le bénitier de la pureté naïve ou plutôt, contexte oblige, un loup tombé dans une bergerie innocente et inculte ? Les jugements ont pu s’affiner, voire se transformer totalement depuis les quelques décennies où l’on peut réentendre des musettes dans divers contextes, dont celui du répertoire lyrique.
  • AU's LE BERGER Fideole: an ANALYSIS for PERFORMANCE

    AU's LE BERGER Fideole: an ANALYSIS for PERFORMANCE

    RAKV1;AU'S LE BERGER FIDEoLE: AN ANALYSIS FOR PERFORMANCE THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Lillian Lucille Loe Denton, Texas December, 1972 Loe, Lillian Lucille, Rameau's Le Berger Fidele: An Analysis for Performance, Master of Music (Voice), December, 1972, 102 pp., 4 tables, 15 illustrations, bibliography, 47 titles. It is assumed that the performer of Le Berger Fidele will be capable of a more accurate performance and a more historically authoritative interpretation if he thoroughly understands all musical aspects of the cantata. Due to the lack of written directions from earlier composers, it is important that the performer research the period, composer, and composition to insure a more accurate, interpretive per- formance. The first chapter delves into the life and works of Rameau. The second chapter follows the development of the French solo cantata from the beginning of the art song to its culmination. Ornaments peculiar to French cantata are dis- cussed in the third chapter. In Chapter IV each pair of recitative and aria is examined and analyzed according to form, harmony, rhythm, melody (including phrasing), dynamics and ornaments, and instrumentation. The cantata is built up in a succession of three arias. Each aria is da capo in form and is preceded by a recitative and an instrumental introduction. Each air is concluded with an instrumental postlude. The instruments (first and second violins, cello, and harpsichord) play an integral part throughout the cantata. The interludes establish or change moods.
  • Jean-Philippe Rameau Suite from Naïs

    Jean-Philippe Rameau Suite from Naïs

    PROGRAM NOTES by Phillip Huscher Jean-Philippe Rameau Born before September 25, 1683, Dijon, France. Died September 12, 1764, Paris, France. Suite from Naïs Rameau composed his dramatic work, Naïs, a pastorale-héroïque, in 1748-49. The premiere was given on April 22, 1749, at the Paris Opera. The orchestra for this suite of instrumental selections consists of four flutes and two piccolos, four oboes, musette (a small French bagpipe), four bassoons, two trumpets, timpani, and strings. At these performances, the musette is played by Jean-Pierre van Hees. Performance time is approximately thirty minutes. The Chicago Symphony Orchestra first performed Rameau’s Suite from Naïs on April 6, 2006. Jean-Philippe Rameau is one of the orchestral world’s neglected masters. Although he is regularly acknowledged as one of the most important and influential composers of the French baroque, modern symphony orchestras today rarely play his music. When the Chicago Symphony performed Rameau’s music for the first time in 1900, the program book painted him as a worthy companion to Bach, pointing out that when he died “all France mourned for him; Paris gave him a magnificent funeral, and in many other towns funeral services were held in his honor.” The Orchestra played selections from his opera Castor et Pollux the next season, but Rameau’s music was rarely performed again after that. In the past four decades, his name has appeared on Chicago Symphony programs just once, on a pension fund concert in 1981, when the Overture to Les Paladins was performed. A contemporary of Bach and Handel (he was born just two years before them and outlived Bach by fourteen years), Rameau was the greatest French composer of the eighteenth century and one of the giants of the Enlightenment.