Hommage A Rameau Meaning
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Two previous recordings of Les Indes galantes, Rameau's first opera-ballet, did scant justice to this kaleidoscopically colourful work. Jean-Claude Malgoire (CBS, 7/74—nla), following the 1743 revival, captured the spirit of the music rather well, but in 1974 period instrumental playing was still in its infancy in France and many of the sounds in this recording were, even then barely acceptable.
Jean-Francois Paillard (Erato, 2/75—nla) played safe with his band of modern instruments, but in spite of a strong solo cast the results were, to my ears, dull and unimaginative; his recording, also dating from 1974, is the more complete version of the two.Now we have William Christie and Les Arts Florissants in a performance of the work which revels in the affecting originality of Rameau's invention. Opera-ballet, as a type of entertainment, was very well established by 1735 when Rameau and his librettist Louis Fuzelier first presented Les Indes galantes at the Academie Royale in Paris. At this time, more than ever before, Parisian society enjoyed dramatic entertainment in which dance and spectacle were afforded greater significance than was customary in tragedie lyrique.
Typically, opera-ballet consisted of a prologue and anything between three and five entrees or acts. There was no continuously developing plot but instead various sections might be linked by a general theme, often hinted at in the title. Perhaps the mid-eighteenth-century writer, Remond de Saint-Mard, best encapsulated the essence of opera-ballet: 'Each act should include an intrigue, lively, lighthearted and, if you like, somewhat galant.
Two or three scenes, and these short, will do very well. The rest of the action is in ariettes, fetes, spectacles and altogether agreeable features.' 'In Les Indes galantes the linking theme derives from a lively taste for the exotic and the unknown cultivated at the time. Rameau's original score consisted of a prologue and two entrees 'Le Turc genereux' and 'Les Incas du Perou'; but shortly after the first performances composer and librettist added first 'Les fleurs' and then 'Les sauvages' (1736); as so often with baroque opera and oratorio a great many different versions of the work have been handed down. It was never published in its entirety and, as Sylvie Bouissou remarks in her interesting and well-informed essay, Rameau was a perfectionist and only too eager to revise the work, making the task of reassembling the score extremely difficult.In these and other respects Christie has achieved his aims convincingly and entertainingly.
His orchestra of some 46 players is almost exactly the size recorded at the Paris Opera in the mid-century and his soloists comprise as strong a team of singers as you could wish for. There are 17 solo roles in all, but since no one character appears in more than one of the opera's five sections Christie is able to dispose the parts among only ten singers. In the Prologue the role of Hebe is sung by Claron McFadden, who also sings Zima in the Fourth Entree 'Les sauvages'. She has an attractive, lightly coloured voice and a fair sense of pitch bringing a beguiling enchantment to her air 'Musettes, resonnez' (Prologue); but sometimes I found her vibrato a shade uncontrolled and too generously applied. Nevertheless, she proves a worthy partner for Isabelle Poulenard who, as L'Amour, shares a duet with her at the close of the Prologue.The first entree, 'Le Turc genereux', concerns the reunion of Emilie, a captive of Pasha Osman, with her lover Valere. Miriam Ruggieri and Howard Crook—his animated 'Hatez-vous de vous embarquer' is wonderfully effective—give an ardent and stylish account of the story and the bass Nicolas Rivenq makes a sympathetic Osman; but it is the splendid tempest scene, vividly captured here, which provides the musical focal point of this section.The second entree, 'Les Incas du Perou', concerns Phani, an Inca princess, and Carlos, a Spanish officer.
They love one another but Phani, in turn is loved by Huascar, high priest of the Sun. Huascar tries to thwart them but in vain.
Hommage A Barbara
Almost insane with jealousy he unleashes the elements and is destroyed by fire and rocks hurled from a volcano. Rameau lavishes some of his greatest dramatic skill on this entree which as well as containing one of the composer's purple passages in Huascar's air with chorus 'Clair flambeau du monde', also contains a menacing earthquake scene of considerable force, briefly foreshadowing Ismenor's incantation in the Second Act of the tragedy Dardanus (1739).
The bass, Bernard Deletre makes an imposing, authoritative Huascar while Isabelle Poulenard strikes an innocent, appealing note as Phani and the tenor, Jean-Paul Fouchecourt, on stronger form than I have sometimes heard him recently, a passionate suitor.There is an intended humour in the third entree 'Les fleurs, Fete persane' with disguises, mistaken identities and a concluding fete celebrating a happy outcome of preceding events. Fouchecourt (Tacmas), the baritone Jerome Correas (Ali), and the sopranos Sandrine Piau (Zaire) and Noemi Rime (Fatime) capture the lighthearted spirit of text and music with lively imagination and their voices blend alluringly in the beautiful quartet 'Tendre amour, que pour nous ta chaine dure a jamais', a rarity in Rameau opera. This number, the heady chorus 'Triomphez, agreable fleurs!' ' towards the end, and the nine dances comprising the 'Ballet des fleurs' are among the loveliest pieces in this entree.' 'Les sauvages', the fourth entree, is lighthearted. Zima, a young Amerindian, is wooed by Damon, a fickle French officer and Don Alvar, apassionate Spanish one. But Zima, herself prefers Adario, an army captain of her own people.
Hymen is invoked and the couple are peacefully united in a ceremony during which one of Rameau's masterpieces is heard, the 'Danse du Grand Calumet de la Paix' for voices and instruments which Rameau had first included with the title 'Les sauvages' in his Nouvelles pieces de clavecin ( c. Christie and his forces give a beautifully poised performance of this and the colourful, spaciously conceived and tautly constructed Chaconne which concludes the work.To sum up: here is a first-rate performance of one of Rameau's most endearing stage works; Christie's control of his forces, his convincing pacing of the piece—the Prologue and first entree sounded hurried and unsettled in the Aix-en-Provence production that preceded the recording—and his feeling for colour, gesture and rhythm contribute towards making this perhaps his finest achievement on disc, so far. His choir is lively and well-disciplined and the instrumentalists of Les Arts Florissants play with greater finesse than I have previously heard. The booklet contains full texts in French, English and German and the music is vividly recorded in a pleasing acoustic. All in all, a considerable achievement which should provide readers with enduring pleasure.'
I think your options are too narrow minded, the choices in the poll are just his best known pieces, not neccesarilly his best pieces.Et la lune descend sur le temple qui fut, from Images bk 2, why is it that this never gets mentioned? Just because it's not as famous as poisson d'or or reflets dans l'eau. It is in my opinion the most beautiful and evocative piece that Debussy wrote. Another one is Hommage A Rameau from Images bk1.
Not to mention la terasse des audiences au clair de lune and Canope (a piece that is apparently easy to play but is incredibly beautiful and descriptive) from preludes bk2. If you're talking outside of piano repetoire then there is the cello and violin sonatas, the string quartet, la Mer, the Nocturnes etc. I think your options are too narrow minded, the choices in the poll are just his best known pieces, not neccesarilly his best pieces.Et la lune descend sur le temple qui fut, from Images bk 2, why is it that this never gets mentioned? Just because it's not as famous as poisson d'or or reflets dans l'eau. It is in my opinion the most beautiful and evocative piece that Debussy wrote. Another one is Hommage A Rameau from Images bk1. Not to mention la terasse des audiences au clair de lune and Canope (a piece that is apparently easy to play but is incredibly beautiful and descriptive) from preludes bk2.
If you're talking outside of piano repetoire then there is the cello and violin sonatas, the string quartet, la Mer, the Nocturnes etc. I think your options are too narrow minded, the choices in the poll are just his best known pieces, not neccesarilly his best pieces.Et la lune descend sur le temple qui fut, from Images bk 2, why is it that this never gets mentioned? Just because it's not as famous as poisson d'or or reflets dans l'eau. It is in my opinion the most beautiful and evocative piece that Debussy wrote. Another one is Hommage A Rameau from Images bk1. Not to mention la terasse des audiences au clair de lune and Canope (a piece that is apparently easy to play but is incredibly beautiful and descriptive) from preludes bk2.
If you're talking outside of piano repetoire then there is the cello and violin sonatas, the string quartet, la Mer, the Nocturnes etc. Best post in the thread. Don't worry about being fussy; too many people when it comes to this particular composer only hear a few of his random immature piano works and a few of the commonly peformed of the preludes. The piece you mention.what is the english translation-and the moon decends on the temple that was- was SO ridiculed when it was first published and performed, and it is often overlooked, but is really wonderful.
Hommage A Rameau Meaning Youtube
Lots of people are turned off by it at first. Images book 2 is solid all the way through though, 3 excellent movements, stunning.i think the hommage a rameau may have been his most conventionally beautiful piecei stand by my opinion that his sonate for flute viola and harp is the best thing that he ever wrote. My new favorite Debussy performer is Pierre-Laurent Aimard. I have his CD of the two books of Images and the Etudes. Absolutely flawless recordings of each and every piece. The recording quality is excellent and the piano used in the recording also has a beautiful sound, and Aimard is able to extract the most supple tones from it. I also like how the playing never seems forced or unbalanced, it's like he knows the music like the back of his own hand.For orchestral stuff, I like Pierre Boulez's conducting.
Hommage A Rameau
I have his recordings of the Nocturnes, La Mer, Prelude, and Jeux.