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| Composer : | Rameau, Jean-Philippe (1683 - 1764) | ||||
| Instrumentation : | Woodwind quintet : Flute, Clarinet, Oboe, Horn, Bassoon | ||||
| Style : | Baroque | ||||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Publisher : | MAGATAGAN, MICHAEL | ||||
| Copyright : | Public Domain | ||||
| Added by magataganm, 28 Oct 2012 In 1683, Jean-Philippe Rameau, the seventh of eleven children, was born into a musical family in Dijon. His father played the organ at two churches there. At eighteen he decided to become a musician, although his father preferred that he enter the legal profession. He traveled to Italy and spent a few months in Milan, playing violin with a group of itinerant musicians. Subsequently, he held various organ posts in Dijon (replacing his father), Lyons, Clermont, and Paris. Two years after settling in Paris at the age of forty-two, he married a nineteen-year old girl, Marie-Louise Mangot. They had four children. He composed cantatas and motets, and he published books and articles on music theory and several small collections of solo harpsichord works. All the while he longed to compose for the operatic stage. He sublimated this desire in his harpsichord works, lavishing on them all the imagination, passion, and drama that would later enliven his great operas. Rameau published his Pieces de Clavecin en concerts in 1741. He followed the lead of Gaspar LeRoux and Jean-Joseph Cassanea de Mondonville, who had published harpsichord pieces with violin accompaniment. Five of the titles are names of Rameau’s musical acquaintances (La Laborde, La Boucon, La Forqueray, La Marais, and La Cupis) while La Livri and La popliniere were two patrons of the arts, the former having died the year Rameau published this collection. To which family member he dedicated La Rameau, we have no idea. Le Vezinet, now a suburb of Paris, was part of the countryside in Rameau’s day. One can imagine a jaunt on horseback or carriage through a fragrant, pastoral scene. La Coulicam is a corruption of Thomas Kouli Khan, eponymous hero of a pseudo-historical novel about a revolution, set in Persia. The rest are dances (Menuet, Tambourin, La Pantomime) and character pieces (L’Agacante, La Timide, and L’Indiscrete). Although this piece was originally written for Harpsichord, I arranged it for Woodwind Quintet (Flute, Oboe, Clarinet, French Horn & Bassoon). There is a delicate somewhat dissonant interplay between the main and secondary voices played by the flute, oboe and clarinet and an echo from the second voice provides melancholic memories on a cold winter evening of a beautiful summer day, spent with someone near a quiet and peaceful wooded river (even birds can be heard). Sheet central : | Pièces de clavecin en concerts (7 sheet music) | | |||
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