After an attentive and meticulous work of transcription and editing, we offer you this jewel of French Baroque music, in �lafsson's interpretation.

V�kingur �lafsson describes Rameau's "La Cupis" as follows: The character pieces stem from Rameau?s 1741 chamber music collection Pi�ces de clavecin en concerts, also prepared by the composer for solo keyboard. Here, the passage of time has rendered the titles somewhat enigmatic. ?La Cupis? may be yet another feminine portrait, its potential namesake being Marie-Anne Cupis, a well-known dancer. Why not? The work?s yearning, soulful melodies are surrounded by nimble, dance-like episodes. Watch V�kingur �lafsson peform Jean-Philippe Rameau's Pieces de clavecin en concerts : II. La Cupis.

"In any case, it is full of passion and zest." - V�kingur �lafsson

The score is unique. We at FRC Music have the joy of being able to offer this beautiful transcription for solo piano. You will love playing this piece and your audience will be delighted. Enjoy.

Les tendres plaintes (for Piano Solo) as played by V�kingur �lafsson

?For me, Rameau is up there with Handel, Scarlatti, and second only to Bach,? says �lafsson. ?It is simply genius keyboard writing.? His new album ?Debussy Rameau? juxtaposes Rameau?s music with that of Debussy, describing it as a ?dialogue? between the two composers. He said that together they ?defeat time and space with music?. What follows Debussy?s tender apologies on the album are Rameau?s tender complaints in ?Les Tendres Plaintes? from his Suite in D. In fact, tenderness was also the word evoked by Debussy to describe what he admired so deeply in Rameau ? ?Delicate and charming tenderness?, to be exact. Watch V�kingur �lafsson performing Jean-Philippe Rameau?s ?Les tendres plaintes?.?�lafsson?s interpretations inhabit a unique, distinct and extraordinary world all their own.? ? Gramophone

Rameau: L'entretien des Muses � V�kingur �lafsson

Debussy ? Rameau

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.



https://youtu.be/qTwqBVt2Clw

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.

Les Bor�ades is a trag�die lyrique mise en musique, or a lyric tragedy put into music, a type of opera, in five acts by Jean-Philippe Rameau (1683-1764). It is the last of his five such works. The libretto, attributed to Louis de Cahusac (1706?1759), is loosely based on the Greek legend of Abaris the Hyperborean and includes Masonic elements; the Bor�ades are the descendants of Bor�as.


'The Arts and The Hours' interlude from Rameau?s final opera, ?Les Bor�ades?, written in 1763 when Rameau was 80. �lafsson transcribed it for the modern piano because its colourful resonance allows for new and interesting textural possibilities in a piece that seems so ahead of its time: its rich harmonies of suspended 9ths and 11ths one could almost imagine Mahler writing in the late 19th century. In the original opera, based on a Greek legend, the interlude bears a somewhat lengthy title: ?The Arrival of the Muses, Zephyrs, Seasons, Hours and the Arts.? As all these mythical beings summoned to the stage have something to do with the arts and with time?s passing, �lafsson allowed himself to call my transcription simply ?The Arts and the Hours?, with a nod to the Greek aphorism best known in its Latin version as ?Ars longa, vita brevis?. Almost three centuries after his death, the legacy of his art is still growing, with works still being discovered, premiered and brought back from obscurity.

Digital Pack includes:

1. One King (arr. Phillip Keveren) - Full Score
2. One King (arr. Phillip Keveren) - Flute
3. One King (arr. Phillip Keveren) - Oboe
4. One King (arr. Phillip Keveren) - Bb Clarinet
5. One King (arr. Phillip Keveren) - F Horn
6. One King (arr. Phillip Keveren) - Tambourine
7. One King (arr. Phillip Keveren) - Harp
8. One King (arr. Phillip Keveren) - Violin 1
9. One King (arr. Phillip Keveren) - Violin 2
10. One King (arr. Phillip Keveren) - Viola
11. One King (arr. Phillip Keveren) - Cello
12. One King (arr. Phillip Keveren) - Contrabass

Digital Pack includes:

1. Sing To The King (arr. Phillip Keveren) - Full Score
2. Sing To The King (arr. Phillip Keveren) - Guitar
3. Sing To The King (arr. Phillip Keveren) - Bass
4. Sing To The King (arr. Phillip Keveren) - Drums
5. Sing To The King (arr. Phillip Keveren) - Violin 1
6. Sing To The King (arr. Phillip Keveren) - Violin 2
7. Sing To The King (arr. Phillip Keveren) - Viola
8. Sing To The King (arr. Phillip Keveren) - Cello
9. Sing To The King (arr. Phillip Keveren) - String Reduction (Synthesizer)