Jean-Philippe Rameau

Jean-Philippe Rameau (Dijon, 25 september 1683 – Paris, september 12, 1764) was one of the most important Baroque composers in General, and of Frenchcomposers in particular. He was not only a harpsichordist and organist, music teacher but is considered a very important music theorist whose influence continues to this day. In addition to Jean-Baptiste Lully was he as head representative of the Ancien Régime seen. Are bulky studied oeuvre is the basis for the functional harmony.



Content
[hide] *1 early life  ==Life Course[ Edit] == ===The organist[ Edit] === Jean Rameau, Jean-Philippe's father, was organist at several churches in Dijon. His mother Claudine Demartinécourt was taken from the minor nobility. Jean-Philippe Rameau was the seventh of eleven children of the couple and of course got the first music lessons from his father. His younger brother Claude Rameau was also organist and played harpsichord and his sister Catherine Rameau was music teacher. The son of Claude Rameau, Jean-François, is by Denis Diderot 's novel Le neveu de Rameau from 1761 become unforgettable.
 * 1.1 The organist
 * 1.2 the theorist
 * 1.3 the opera
 * 1.4 Family
 * 2 Compositions
 * 2.1 musical theatre
 * 2.1.1 Operas
 * 2.1.2 Ballets
 * 2.2 Secular cantatas
 * 2.3 Motets
 * 2.4 Harpsichord
 * 3 Theoretical works (selection)
 * 4 external links

Jean-Philippe Rameau was a pupil at a Jesuitcollege, but had to leave because of poor grades. At the age of 18, he made a trip to Italy, which brought him no further than Milan .

Traité de l'harmonie réduite à ses principles naturels, Paris, 1722In January 1702 he was organist at the Cathedral of Notre Dame des Doms in Avignon. In may 1702 he was also organist in Clermont-Ferrand and got a contract for six years. But already in 1706, he moved to Paris, where he collaborated with Louis Marchand . He published there also are Pièces de clavecin. To 1709 he was Titular organist at several churches in Paris. In 1709 he became successor of his father to the 13th-century Notre Dame church in Dijon. Also this contract gold originally for six years. But as early as 1713 we find him as organist in Lyon. In 1715 he departed again to Clermont-Ferrand and was organist until he moved to Paris in 1722.

In this period most of the secular and sacred choral music including grand motets he destined for a festive church service on the occasion of the conclusion of the Treaty of Utrecht (1713). Organ music he would have composed at this time has not been preserved. Rameau's Pièces de clavecin first harpsichord book (Paris, 1706) gives a clear insight about his views on music for keyboards at this time. Even after his departure to Paris in 1722 and the first opera successes in the years-1730 to 1738 he organist, remains. ===The theorist[ Edit] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In 1722 he published his Traité de l'harmonie réduite à ses principles naturels in Paris, that he's been in in Clermont-Ferrand, in Auvergne, had written. It is an important and influential work in the music theory that Rameau made famous in one fell swoop. Together with the additional Nouveau Système de musique theorique in 1726 explained the work the basis for the modern music theory for harmonyand agreement. He determined with «l'accord tonique» the Tonic for the triad that has become the base of classical music.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Five more music theory work were published until 1760, in which he the harmonic relations in building up the harmonic range develops. From 1752 to 1754, he defended French baroque opera and his thesis of the primacy of the harmony on the melody against the Encyclopedists in the so called buffonistenstrijd. Its relation to the circle of the Encyclopedists remains ambivalent, fierce debates with Jean-Jacques Rousseau stand next to the appreciation and admiration by Denis Diderot and Jean Le Rond d'Alembert Baptist. ===The opera<span class="mw-editsection" len="335" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === Jean-Philippe Rameau with violin, by Joseph Aved (1702-1766)-Musée des Beaux-Arts, Dijon<p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">The premiere of the opera Hippolyte et Aricie in 1733 was a turning point in his life. The opera was seen by his contemporaries as the most important genre. New compositions were very critically assessed. Rameau Teske-on the one hand, the form of the by Jean-Baptiste Lully created «Tragédie en musique» to follow, but on the other hand, the focus of the Act-carrying parties to the development of vocal solo Recitative, ensembles and instrumental scenes to shift. With his fame as a composer was also a solution to his financial problems.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Around 1727 he learned Alexandre Le Riche de la Pouplinière, the General steward (fermier général) of the King Louis XV of France common. He became the patron of Rameau and left him with his family in his palace in the rue de Richelieu live. Twelve years led the private Orchestra Rameau Le Riche de la Pouplinière. He was then able to gain valuable experience with instruments and with the ensemble experiment.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In 1752/1753 it came with the buffonistenstrijd (French: Querelle des Bouffons) to a major break in Rameau's opera career. In the early 18th century it was found the Italian music and learned French music simple and natural. Rousseau on the other hand, pointed out the simplicity of the Italian music in front of the complexity of the French music with her full orchestration, complicated polyphony and harmonic settings. Rousseau has in his Lettre sur la musique française dismissed with French music, because "only the Italian language was adequate for the music" because they "soft, klankvol, harmonic and accented" sounded. Opposite the musical ideal of the French late Baroque have the Encyclopedists around Jean-Jacques Rousseau the ideals of the naturalness and melodic sing action. Le Riche de la Pouplinière chose the side of Rousseau and Rameau let fall.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">The last years of Rameau's life stood in the sign of the cooperation with the dance theorist and encyclopaedist Louis de Cahusac, librettist. In his last works could Rameau the expression possibilities of the instrumental music increase even more.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Rameau was primarily an opera composer, which is around 35 working for the scene wrote. His ballet compositions have been enthusiastically received. During his years as an organist, he wrote a series of cantatas and motets. A further milestone in his oeuvre are the Pièces de clavecin and concerts and his Pièces de clavecin. ===Family<span class="mw-editsection" len="334" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">On 25 February 1726 he married at the age of 42 the only 19-year-old Marie-Louise Mangot, Member of a musical family. Marie-Louise later sang in several of Rameau's operas. Together they had two sons and two daughters. ==Compositions<span class="mw-editsection" len="338" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ===Music Theatre<span class="mw-editsection" len="340" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === ====Operas<span class="mw-editsection" len="334" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] ==== ====Ballets<span class="mw-editsection" len="336" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] ==== ===Secular cantatas<span class="mw-editsection" len="348" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === ===Motets<span class="mw-editsection" len="336" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === ===Harpsichord<span class="mw-editsection" len="339" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === ==Theoretical works (selection)<span class="mw-editsection" len="358" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] ==
 * 1715-1718 Thétis (bass),
 * 1715-1719 Aquilon et Orithie (bass)
 * 1715-1722 L'impatience (soprano)
 * Les amants trahis 1721 (soprano, bass)
 * 1721 Orphée (soprano)
 * 1728 Le berger fidèle (soprano)
 * 1713-1715 Deus noster refugium (composed on the occasion of the conclusion of the Treaty of Utrecht)
 * 1713-1715 Quam dilecta (ditto)
 * In convertendo for 1720
 * for 1722 Laboravi (in the Traité de l'harmonie, 1722)
 * (authorship uncertain) Tilt to et Diligam Domine
 * 1706 Premier livre de pieces de clavecin
 * 1724 Pieces the clavessin avec une pour la mechanique des doigts method Tambourin(info / explanation)
 * 1729-1730 Nouvelles suites de pieces de clavecin [...] avec des remarques sur les différens genres de musique
 * 1736 Les Indes galantes, ballet, reduit à quatre grands concerts (contains also the original harpsichord piece Les Sauvages)
 * Traité de l'harmonie reduite à ses principles naturels (Paris, 1722)
 * Nouveau système de musique théorique (Paris, 1726)
 * Dissertation sur les différentes méthodes d'accompagnement pour le clavecin, ou pour l'orgue (Paris, 1732)
 * Génération harmonique, ou Traité de musique théorique et pratique (Paris, 1737)
 * Mémoire où l'on expose les fondemens du Système de musique théorique et pratique de m. Rameau (1749)
 * Observations sur notre instinct pour la musique (Paris, 1754)
 * ' Origine des modes et du tempérament ', Mercure de France (June 1761)
 * Origine des sciences, suivie d'une controversy sur le même sujet (Paris, 1762)